The most common generators of movement are lines, the visible pathways that fall along the edges of picture elements. United Kingdom: Amazon | Waterstones | Book Depository | Books etc. | U.S.: Amazon | B&N | Book-a-Million | IndieBound | Movement in landscape painting may be fast or slow, strong or gentle, steady or halting, but it is always desirable. Only a blank painting surface, absent of any mark or shape, would have no movement at all. As soon as we add shapes and colors and lines, however, our eye naturally begins to find pathways and seek connections between elements. Our eye remains active and engaged as it moves around and through the picture. Movement is what animates a composition and brings it to life. (For more on active negative space, see Excerpt: Active Negative Space in Landscape Painting.) The Landscape Painter’s Workbook covers three aspects of composition: variation and differences, movement, and active negative space. In this blog post, we’ll take a closer look at movement with painters Bill Cone, Cindy Baron, and yours truly.
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