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Digital Subscriptions > The Artist > July 19 > Perspective and all that

Perspective and all that

In the second part of his new series on choosing colours for landscape painting, Martin Kinnear explains how to manage colours for visual design purposes

THE COLOUR OF LANDSCAPE: 2ND OF 4

View Across Wensleydale, oil on canvas, 36X48in (91.5X122cm). Traditional atmospheric perspective

Now before you think, ‘blah blah blah – paint the foreground warm, the back bits blue’ and so forth, let me take a moment to say that this article really isn’t just about that. In fact the management of pictorial depth is arguably the defining topic for modern and contemporary painters. Allow me to explain.

Problem of depth

Here’s the crux of it. The real world is not flat but paintings are, as they are 2D. So if, as a painter, you wish to create a facsimile of the outward appearance of things, you need a system to make your 2D plane look as though it has depth.

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About The Artist

Welcome to the July issue of The Artist full of practical features by our top team of artist-contributors to inspire your own drawing and painting. Learn how David Taylor captures light effects in watercolour, perfect your brushwork with Hazel Soan, paint a summer rose in five easy stages, and street scenes full of life and colour. Enjoy demonstrations on how to create depth in your landscapes, use pastels to express texture, paint a backlit treescape in acrylics, and how to develop compositions from original reference material. Robert Dutton and Judi Whitton offer advice on how to avoid overworking and make the right choices to ensure successful compositions, while Martin Kinnear explains how to manage colour for visual design purposes. There's also a wealth of information about competitions to enter, exhibitions to see, special offers, art world news, courses and holidays and advice on promoting your own work. Whatever your preferred subject matter or medium, there's something for everyone and plenty of ideas to try in your own work this month.