Mountain scenes are very popular in galleries in the western part of the United States. Top galleries there have quite a few landscapes featuring the Rocky Mountains. These impressive subjects create an impact in the macro natural world when seen in person, but how do we simulate and if possible convey the majesty of mountains under the obvious limitations of a two-dimensional surface? Because you’re constricted within the boundaries of a painting, this is where you, the artist, will need to budget your pictorial space in your painting composition.
Canvas is the common choice of artists working with acrylic and oil paints. It’s less commonly used with watercolors, thanks largely to the fact that its surface is nonabsorbent. Before watercolors and canvas can be combined, the canvas must be coated in gesso and watercolor ground to increase its absorbency–a process known as priming.
The best policy is to plan your painting so the mass of the mountain takes up the most square inches in your design. This means you will have to plan to reduce the size of the surrounding masses such as the trees, lakes, skies, and grass. Another offset is that the scene gets cropped, abruptly stopping eye flow, contrary to what happens in real life. Everything gradually gets blurry in the peripheral vision of the viewer’s eye, away from where we are looking directly. Your painting always will be an artificial representation of a scene. This is where composition plays its role and where mountain placement is crucial to a successful painting.
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Instead of taking a photo at face value, take the time to work out your project in a thumbnail sketch. This can be about the size of a poker card. This is where you can stretch or reduce the competing areas. Details aren’t important at this stage. You just need to work out the bugs of the pictorial real state. Don’t get caught up in the idea that you must respect the exact dimensions, shapes or ridges of a mountain. As long as the mountain is recognizable your painting is good to go.
Once I worked out the location of the subjects, I added a Tic-Tac-Toe grid to my thumbnail sketch. This helped me transfer the initial drawing onto the larger format. Even at the size of this image the viewer will sense the majestic feeling of the mountain because of the comparisons to the subordinate masses.