Capturing Realism in Landscape Art
My journey through a Jon Doran Workshop
In the last week of August 2023, I stepped into a four-day landscape painting workshop with Jon Doran, eager but a bit apprehensive. As someone who loves the spontaneity of plein air painting and capturing fleeting moments of light, I was looking to deepen my understanding of realism. This workshop promised a journey beyond mere replication—into the heart of what makes a landscape feel alive and evocative. Little did I know it would transform the way I see and paint.
Day 1: Seeing Through the Artist’s Eye
“Paint as the eye sees, not like a photograph.”
Jon began by emphasising a crucial distinction: realistic painting is not about mimicking a photograph but about capturing the essence of a scene as perceived by the human eye. We delved into the foundational elements that make a landscape painting convincing: drawing, tone, hue, and application.
Key Takeaways:
Simplification in painting - instead of obsessing over every detail, Jon encouraged us to simplify the landscape into essential shapes and tones. By focusing on light, shadow, and colour relationships, we could evoke the mood of a place, much like our eyes naturally focus on certain elements while softening others.
Creating a sense of place and experience - the goal was to capture not just the appearance but the experience of the landscape. By prioritising tone over colour—since “tone does all the legwork,” as Jon put it—we laid a foundation for the painting that conveyed depth and atmosphere.
Techniques Practiced:
Sketching and composition- we started with loose sketches, focusing on shapes and composition rather than getting lost in details. It was about setting up a strong framework before diving into colour.
Blocking in colour and tone - the initial layer was all about big contrasts, laying down broad strokes to define the major areas of light and shadow.
By the end of the first day I already felt a shift in my approach. I realised how simplifying elements and focusing on tonal values made the scene feel more cohesive and lifelike.
Day 2: The Painter’s Eye – Seeing and Simplifying
On the second day, we explored techniques to improve our perception of tonal values. Jon introduced us to the sight-size method, a method of drawing an object exactly as it appears. Simplifying the translation of proportions from the eye to the canvas.
Tools for Tonal Clarity:
Squinting - squinting helped us blur out unnecessary details, allowing us to focus on the primary light and dark areas. It was a simple but effective way to see the larger tonal relationships.
Using a black mirror - surprising tool in the painter’s arsenal, the black mirror reduces colour and enhances tonal differences, helping us see the scene in simplified values. This was a revelation for me, making it easier to identify the key shapes and tones.
Standing back - stepping away from the canvas frequently helped maintain a balanced view of the painting, preventing me from getting caught up in small details.
Key Takeaway:
Prioritising tone
Day 3: Working with Colour and Harmony
The third day was all about mastering colour through the use of a limited palette. Jon introduced us to the Cornish palette, a selection that simplifies mixing and ensures a natural harmony in the painting.
The Cornish Palette:
Titanium White & Warm White for highlights
French Ultramarine & Burnt Umber for shadows
Viridian & Yellow Ochre for earth tones
Burnt Sienna for warm accents
By limiting our colour choices, we focused more on tonal relationships, which brought a cohesive look to the painting. We also explored the Munsell colour system, learning how to adjust saturation and tone for a more balanced composition.
Reflections:
Using this palette felt like a game-changer. It streamlined my process, allowing me to replicate natural colour relationships without the overwhelm of too many choices. The result was a more unified and harmonious landscape.
Day 4: Refining Edges and Bringing it All Together
On the final day, we transitioned from the broad strokes of blocking in to the finer details, focusing on texture and application techniques that add realism to a painting.
Key Techniques:
Softening Edges - y gently blurring lines between contrasting areas, we created a natural, peripheral look that mimicked how the eye perceives transitions. This technique helped the focal points stand out without harsh edges drawing attention away from the overall scene.
Adding Texture with a Palette Knife - introducing texture with a palette knife added a tactile quality to the painting, creating depth and dimension. This was especially effective in mimicking the rugged terrain of rocky shores or the rough texture of distant trees.
Focus and Detail - while most of the painting retained soft, blended edges, the focal points were sharpened with bolder brushstrokes and more saturated colours, drawing the viewer’s eye to key elements.
Final thoughts
Stepping back frequently throughout the process was crucial.
It prevented me from getting too attached to minor details and helped maintain a cohesive vision of the landscape.
The sight-size method was especially useful in this regard, keeping my perspective aligned and consistent.
Reflecting on the Workshop
The Jon Doran workshop fundamentally reshaped how I approach realistic landscape painting. I learned to trust in simplification and focus on tonal relationships, moving away from striving for photographic accuracy. Instead, I aimed to capture the essence and atmosphere of a place, giving the viewer a sense of being there.
W.B. Yeats once said “The world is full of magic things, patiently waiting for our senses to grow sharper.” This workshop sharpened my senses in ways I hadn’t anticipated, teaching me to look beyond the obvious and paint with a deeper understanding of light, tone and texture.
If you’re looking to refine your landscape practice, I highly recommend a workshop like this. It’s not just about learning new techniques—it’s about deepening your perception and finding a balance between discipline and artistic freedom. Try experimenting with a limited palette or practice seeing your scene in simplified tones. You might just find a new way of looking at the world, one brushstroke at a time.