How to instantly add depth to your mountains in acrylic landscape painting

by Will Kemp

in acrylic painting,drawing

aerial perspective Leonardo-da-Vinci-Leonardo da Vinci – The Virgin of the Rocks (detail), 1491-1508

Why do mountains look blue in the distance?

Have you ever wondered why a hill, that you know is covered in green trees, looks purple or blue when viewed from a long distance away?

Trying to create a sense of depth and distance in your landscape painting is key for creating realism in your paintings.

The simplest way to do this is with Aerial perspective…

aerial perspective atmospheric perspective

What is aerial perspective?

Aerial perspective is the optical effect that the atmosphere has on objects viewed at a long distance.

For example, in the daytime a mountain range will usually appear bluer and lighter as it gets further and further away from us.

The air in the atmosphere contains various impurities and these act as a filter stopping certain wavelengths of light reaching our eyes.

This gives the illusion of a change of colour and value.

Cool colours like blues and greens get through the ‘filter’ of air more easily than the warm colours so mountains usually appear bluer.

Leonardo da Vinci noticed and studied that as a landscape recedes from the viewer its colours and tones alter due to the nature of the atmosphere.

You can see this in his painting above where he has cool blue muted mountains in the background, and warm browns in the foreground.

It is sometimes referred to as atmospheric perspective.

What effect does aerial perspective have on landscape painting ?

Change in colour -  A green tree will quickly appear purple, then blue as it receded into the distance.

Change in tone - Everything gets paler, the atmosphere not only effects the perceived colour in-front of us but the tones, how light or how dark, each area of the landscape is. The changes are most noticeable in the dark tones, (just like the dark colour tones)

aerial-perspective-tonal-change

You can see in this photograph how obvious, now it’s in black and white, the tonal value changes are.

It is also useful to note how the crispness of line also alters, making the very back mountain quite blurry.

Pro tip: It is often a good tip when painting to blur the furthest mountain into the sky, You can blur it more than you would initially think and the viewer will ‘create’ the mountain in their mind.

5 points to remember

  1. As the distance between you and the mountain increases, the contrast between the mountain and its background (usually sky) decreases.
  2. The further away a mountain is the less detailed it becomes.
  3. The colour becomes less and less saturated (intense) as it disappears into the distance and becomes closer to the background colour. As objects are viewed at increasing distances the colour change effect is more pronounced, and (if viewed in the day) progressively from purple to blue. This will give the illusion of depth.
  4. The elements most altered by aerial perspective are the dark tones, e.g: a dark green will change more dramatically than a light green.
  5. warm and cool – Use the power of warm and colours to add even more depth. Add a red highlight in the foreground to bring your viewers gaze forward and to heighten the effect. Warm in the foreground, cools in the background

Aerial perspective example:

Dark Green forest scene on a clear, sunny day

Foreground: light green highlights – dark green shadows

Middle ground: cooler green (towards blue)- green/purple hue to the shadows
(the lighter areas will also change but only a little cooler green, rather than a complete change in hue)

Far Distant:  light purple/blue highlights – blue shadows with a purple/violet shade

Very far distance (50 miles) near white highlight – pale blue shadows

Everything gets lighter in value as the distance from the viewer increases, as the landscape hits the horizon line it is often very similar in value to the sky.

Will Kemp Scottish Painting

Will Kemp, Scottish landscape, 2011

The areas that are lighter in value near the front of the scene will hold onto their value for longer, the darks will turn to midtone quickly. Pure whites hold on to their value for a long distance so you can still use titanium white to indicate houses in the far distance as in the painting above.

A note on clouds

clouds atmospheric perspective

harwich-lighthouse Constable

John Constable, Harwich Lighthouse, 1820

Pro tip: Clouds grow darker as they recede, instead of lighter, and they grow warmer instead of cooler. So on a clear day with clouds in the sky the clouds become yellowish as they recede, and those way off in the distance will be pinkish.

You might also like:

1. How to draw perspective for beginners
2. The secret of good composition

 

{ 36 comments… read them below or add one }

Michael De Greef October 17, 2011

Great post,
adds a great deal of information to what knowledge I had of this subject :).

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Will Kemp October 17, 2011

Thanks Michael,
I’m putting together a painting tutorial video about atmospheric perspective in the next couple of weeks.
Will

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a gardee February 6, 2012

Very good tips.

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Will Kemp February 6, 2012

Thanks,
Will

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Diana Lanni October 9, 2012

Excellent! You always add so much detail that I’ve never heard before. A zillion thanks.
-DianaL

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Will Kemp October 9, 2012

Good to hear it Diana.

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ndizihiwe gilbert December 16, 2012

This amazing!! “aerial perspective” I’ve never hear it before! It helped me to do well my project. My God bless you! Good new year!!!!! cheeer

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Will Kemp December 17, 2012

Good one Ndizihiwe, pleased you’ve discovered a new painting tip!

Cheers,
Will

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Jacqueline April 6, 2013

Hi Will,

I’m having a hard time keeping the items in the foreground soft. The outlines of the lighter objects are quite straight and hard-looking; what would you suggest to help keep the edges from looking so sharp when the colour is quite light in contrast to the background? I’m not noticing this so much with the darker items that are further into the distance. Is there some agent I should be using that softens lines without adding more colour? I’m still fairly new to all this and have a lot of your techniques bouncing around in my head, so it could be that I’ve come across it and am just not picking out the right one.

Thanks very much, your videos have all been extremely helpful!

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Will Kemp April 8, 2013

Hi Jacqueline,

Glad you’re getting a lot from the website, there is a lot to take in when you’re first starting but as with learning most things, the more you paint, the more all the techniques should fall into place.

For creating depth in a painting, objects in the foreground are usually kept sharp and more in focus, whilst the distant background is kept soft and blurred.

The same with colour, it’s usually less saturated as it goes into the distance.

I often use a glazing liquid to help blend and soften edges but with acrylics keeping soft edges is harder to do. Have a look at this article on mediums to see the different additives you can mix in with your paints.

Cheers,

Will

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Mihir B May 8, 2013

I would like to thank you for the wonderful tips you have mentioned and paintings and gesso application, the drawings tips r commendable too.

Keep up the good work!!

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Will Kemp May 10, 2013

Thanks very much Mihir, kind of you to say so.

Cheers,
Will

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Karen Winship May 12, 2013

Could you build a little on the information about painting clouds. The top tip is very useful. Maybe a session dedicated to this would be good?
Always enjoy the updates on your site. Really well laid out

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Will Kemp May 14, 2013

Hi Karen, nice to hear from you, I’ll add a cloud tutorial to the list!

Cheers,
Will

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Rozh May 14, 2013

God bless you Will,your tips are so useful ,great work thank you …

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Will Kemp May 14, 2013

Very kind of you to say so Rozh, pleased they’re helping your painting progress!

Cheers,

Will

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paul May 15, 2013

Hi Will thanks for the good tips, now I know why the mountains look purple. A bit more about me I am a pensioner 69 years old I am in painting for about 6 month I like it and enjoy to paint lansdcape I do acrylic painting . I live in Pretoria, South Africa

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Will Kemp May 19, 2013

Hi Paul, pleased you found the article helpful and are enjoying painting acrylic landscapes.

Cheers,
Will

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Suzanne M. May 27, 2013

Will, Thank you for your generosity. Your explanations of the “how and why” of things helps me understand what I see.

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Will Kemp May 27, 2013

You’re welcome Suzanne, so pleased that the mix of ‘how and why’ has helped you with your paintings.
Often, having an understanding of both is key so you can start to see the principles as a whole. Thanks again for your comment.

Cheers,
Will

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Claire Holley August 7, 2013

Hi Will,
If only I had your instruction when I was in school! You make so clear things that we all see in the world around us but never actually notice, until we try to replicate them on a canvas, that is!! Thank you so much for your tutorials, they’re inspiring!
Claire

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Will Kemp August 9, 2013

Hi Claire, thanks so much for your kind words, really pleased you’re finding the site helpful in learning how to paint.

Looking forward to hearing how your paintings turn out!

Speak soon,
Will

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Kate August 28, 2013

Will I’ve been enjoying your site so much, since discovering it! I am so excited as I never realized the information you shared above about clouds… darker as they recede and warmer. Wow! I’ve been drawing and painting most of my life (55 years young) as a hobby and occasionally more seriously. The past couple of years, as a means of supplementing our budget I’ve been teaching children to draw. This year I have a small group of girls who will be learning to paint in acrylics along with me. Your site has been a wonderful resource! Thank you for sharing so much lovely information free for all. You are a great blessing. I do plan on purchasing a course or two as well! Again, thank you for all you do!

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Will Kemp August 29, 2013

Hi Kate,

Lovely to hear from you, so pleased you’ve been finding the articles helpful, and looking forward to hearing how your group of new recruits get on with learning to paint with acrylics.

Cheers,
Will

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Patti October 31, 2013

I’m dumbstruck at finding this information. Will, you are wonderful for putting all of this together. I play with watercolors. My mountains are beautiful — even I think so — but something kept bothering me. Oh, yeah… atmosphere… I live in Tucson where all the atmosphere is heavily endowed with dust and light. Aerial perspective.

You are teaching me how to see. What a blessing you are!

oozing appreciation!

Patti

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Will Kemp October 31, 2013

Thanks very much Patti, very kind of you to say so. Really pleased you’re finding the articles helpful.

Cheers,
Will

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Danielle February 8, 2014

The information about the clouds is fascinating and completely counter-intuitive. Upon further reflection I can understand distant coulds being darker, but pinker?? Why would they not become more *blue* with distance, as everything else does? :)

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Will Kemp February 8, 2014

Hi Danielle,

As the light from the sun has to travel through more atmosphere/clouds the longer wavelengths of light, those (towards the red end of the spectrum) travel better through the clouds and reflect back down from clouds as red, orange, pink and purple shades.

Hope this helps,

Will

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Laura March 3, 2014

Hi Will,

Hadn’t thought about this until after reading this very good article, but how does one work with receding water? I noticed some of the paintings above show the water becoming lighter as it recedes, but also notice that if there were no land masses in the background, but just open sea, the color darkened against the horizon. Would one follow a similar vein as in regards to painting receding mountains? Does the eye perceive receding water like the color of the receding sky? Does it become warmer sans clouds?

Kind regards,

Laura

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Will Kemp March 3, 2014

Hi Laura, yes, a similar vein to painting receding mountains (pinker/purple in the far distance), dependent on whatever is in the sky for that painting which would influence the reflected colours into the sea surface.

Cheers,
Will

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Betty Swanson March 13, 2014

I’ve not been painting long and I’ve taught myself what little I know by reading whatever I can find by people like you who are so willing to help. But, since I only have myself as a critic, I don’t know if I’m doing anything right. A friend brought a painting down and wants me to paint it. Of course, I know I can’t paint one just like it due to copyright and probably couldn’t even if it was allowed.. The painting is very smooth whereas my paintings have a rough looking finish to them. Should I aim for a really smooth finish like this painting. I should add that I’m home bound so I can’t get out to look at other paintings. Also, I’m never truly satisfied with a painting and always feel like I could do it better, when I’ve finished it. Is that weird or do all artists feel that way. I always see things that I could improve on, in every painting I do. I normally work in acrylics but this last painting I added oils on top, trying to get a brighter finish because it’s a sunset and the acrylics just didn’t have a ‘wow’ factor if you can understand what I mean. I did manage to get a nice reflection of the sun in the water. But, I guess my main question is how can I tell if I’m adding too much paint on the canvas or what’s making mine have a really stark appearance instead of a smooth look.

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Will Kemp March 14, 2014

Hi Betty,

Hope you’re doing well, welcome to the world of being an artist! All painters are their own worst critics so the feelings that you could always improve is 100% normal. You can’t really ever add too much paint to the canvas, it just depends on the mood and feeling of the subject that you’re after. If you tend to paint with a rougher style, you might just more naturally suit an impressionistic approach. So just go with the style that feels right to you, rather than trying to imitate other artists’ styles.

Hope this helps,

Will

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Betty Swanson March 13, 2014

Oh, something I should have added. I always apply a coat of Gesso on my canvas then do my sky and if it has water, I apply the blue for the water. This part of my painting always has a nice smooth finish. I seem to have learned that part very well. But, when it comes to adding my subject, that is when my picture takes on the more stark appearance that is just not smooth like the sky etc.

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Will Kemp March 14, 2014

Smoothness of a subject is often depended on the way you handle the edges and blending of the subject matter you are trying to depict. Check your edges to see how they look.

Cheers,
Will

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sadaf May 8, 2014

Really very good information one can get.
Thx alot Will.

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Will Kemp May 8, 2014

You’re welcome Sadaf.
Will

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