Figuring Out How to Paint Landscapes

It feels like I’ve finally figured out how to paint landscapes, and honestly, it’s been quite a journey. I know I have gaps in my art education, so sometimes it takes me a while to understand certain things. But I was determined to learn how to paint the fields of Northern Ireland in a way that felt alive and visually interesting. It wasn’t quick, but I got there.

Starting with Inspiration

The first thing I did was look at examples of other artists’ work. Seeing how they approached landscapes was incredibly helpful—it gave me a clear idea of what worked and what didn’t. Learning this way felt approachable and made the process less overwhelming. Instead of figuring everything out on my own, I could analyze what they did well and apply it to my own work.

Why Photos Don’t Always Work

One of the first things I realized is that painting directly from a photo usually doesn’t work. It ends up looking dull. Photos are often taken with wide-angle lenses, which might look great as a picture but don’t translate well to a canvas. So, I started looking for reference images that better captured what I wanted to paint.

The Importance of Light and Shadow

The next step was understanding light and shadow. This might sound obvious, but it took me time to notice how crucial this is. Shadows are cool, and light is warm—it’s such a simple concept, but it changes everything. If you’re not sure where the darkest areas are in your reference, try turning it black-and-white. It’s a great way to see where your focal points should be.

After that, I highlighted the areas illuminated by sunlight.

I have also highlighted the areas where the shadows are not as dark.

Direction and Flow

Another thing I learned is how important direction is—both in the light and in your brushstrokes. It’s not always easy to figure out from a photo, but once you do, it makes the painting feel more dynamic and natural.

A Quick Sketch

With all this in mind, I made a quick sketch, keeping it loose and not worrying too much about details. I focused on the big picture—where the light hits, how the shadows fall, and how everything flows together.

The sketch that I got looks like that. It is not a finished piece. I used it as a good example to show what I mean.

The Final Painting

It took a lot of practice and patience to get to this point, but now I feel like I can paint pretty much any landscape, even invent one if I want to. Here’s one of my recent pieces—what do you think?

I hope this little breakdown helps if you’re working on landscapes too!