Landscape Painting

Start with a light compositional sketch, then block in the largest planes from back to front so you stay logical: paint the sky and distant background first with thin, slightly diluted washes (use cooler, desaturated blues — ultramarine or cerulean mixed with a touch of alizarin or gray) to establish atmospheric perspective; keep values light and edges soft so the farthest forms read as faint and receding. Next move to the midground, increasing saturation and contrast a bit: mix your greens by combining a cool blue (ultramarine or phthalo) with yellow, and subtly mute them with a little burnt sienna or a touch of raw umber to avoid neon greens — midground colors should be a midpoint in temperature and value between the sky and the foreground. For the foreground use thicker paint, stronger contrasts, warmer and more saturated mixtures (cadmium yellow/amber with alizarin or cadmium red plus a pinch of ultramarine to deepen), crisper edges, and finer detail to make objects feel closer; introduce richer darks and brighter highlights here. To create depth when mixing: desaturate distant colors by adding a cool complement (a little purple/blue or raw umber) and lift their value with white or glazing medium, while keeping foreground mixes cleaner and more chromatic; glazing thin transparent layers of cooler color over distant areas will push them back, and warming glazes or local highlights in the foreground will pull them forward. Finish by refining edges (softening where forms recede, sharpening where they meet the viewer), adding texture with drybrush or impasto in the foreground, and stepping back often to check that value shifts, color temperature, and saturation follow the rule: cooler/desaturated/light in the distance, warmer/saturated/darker up close — that visual rhythm is what sells believable atmospheric depth in acrylic landscapes.