The problem with backlit scenes and creating mood in art.

The road into Sault by frank eber

In real life, the setting for The Road into Sault was one big black blob with a glaring, knife-sharp swath as a road on the opposite hillside. In order to achieve a believable and attractive piece of work, you really cannot paint what’s there.

Like the master painter A. Castagnet said, “If you want to paint the light, you have to think about the shadows.” Very true. Your shadows cannot be too dark or too light. Shadows can have many colors, depending on surroundings and time of the day. They can be blue or purple, brown or grey, but they are never black.

I saw a potential painting here. As a painter you do paint the landscape but in the end, you just paint an impression of what’s there. You make your own light, and you use your own colors and values. Kind of like they do in movies–what you see is not real–but it *looks* real!

I’d like for your eyes to follow the road up into the village, into the scene. To add a bit of mystery, I diffused the village even more, hoping your eyes and imagination will fill it all in.

As always, critiques and comments are welcome.


6 thoughts on “The problem with backlit scenes and creating mood in art.

  1. lindahalcombfineart

    Incredible lovely sky. Albero Castagnet judged our juried show last year and made quite an impression on everyone. You have made his words your own and created a beautiful painting.

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