Creating depth in a predominantly opaque painting?

[Lunatique]

This is something I sometimes have problems with also. I think it's simply that we need to experiment more and find the right ratios of low contrast, color temperature shift, lower saturation, less detail..etc. Look at artists who are good at it (Craig Mullins for example) and study what it is they're doing differently from us. None of this has much to do with opaque or transparent or adding white--it's simply about the background having less contrast, lower saturation, less detail..etc. Are you painting digitally? If you are, then don't think in terms of "adding white" because the traditional way of thinking doesn't work too well with digital color picking. Try thinking more in terms of hue, saturation, and value.

[Henrikg]

Thanks for the reply!
And yes I am painting digitally. Although I just recently did the " switch".I`m havening some trouble " letting go" off some of the traditional ways of thinking when it comes to color and mixing. I think you are totaly right about the fact that we should probably experiment more. And I`ll definitaly check out Craig Mullins work.

[dbclemons]

There's no need to "let go" of traditional methods in this regard. The principles are not mutually exclusive.

Many landscape painters, in order to achieve a sense of distance in their imagery, use not only a control of atmosphere, but also depth of field or focus. Color temperature can be useful, but often is too restrictive, and not that necessary. If you look at the large epic painters, like Thomas Moran, they use more elements of atmosphere, detail, and scale. The distant objects are usually painted more loosely with less defined edges, and foreground objects are more distinct. In close quarters, focus can also help direct the eye, but creates a photographic or artificial appearance.

Look at this painting by John Otis Adams (http://www.the-athenaeum.org/art/detail.php?ID=19291). The sky and farthest mountain almost blend together in color and tone. The mid-ground buildings have edges that are fractured and less distinct than the foreground trees whose edges are sharp and crisp.

Here's a grouping of Thomas Moran (http://www.the-athenaeum.org/art/by_artist.php?id=435&msg=new) scenes. Love this guy's work.

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