What do you think?
Rate this book
Composition of Outdoor Painting
Composition of Outdoor Painting.
146 pages, Hardcover
First published January 1, 2005
65 people are currently reading
948 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 22 of 22 reviews
January 11, 2021
On composition:
- The simpler the design, the better.
- Contrast in texture and line
- Equilibrium in 3 dimensions
- Avoid being controlled by realism, thus over-modeling all accents and details. This will kill the picture.
- p.81 "even though full scale in pigment is used the relation of values within each mass in the picture must be very much closer than those outdoors. Without consideration for these facts, the student is likely to over-model or make his accents and highlights too strong."
- 'Every good composition contains three or four main values.
- use interchange: edges along which the contrast of values increase in gradation'
- p.69 "Isolated parts are very likely to detract if they have no attachment to the main groups."
- - p.72 manipulate texture in perspective to recede the plane. Put some interest in the background so that the eye rests there for a longer period of time.
- p.104 'in composing, both extreme dark and light main areas need to be repeated elsewhere, either in smaller proportion of mass of the same value, or modified slightly.' The same applies to color
- p.154 "The underlying principle of his approach to color, and to art in general, is the balance of vitality (contrast and opposition) with harmony. Vitality and contrast come from the use of brilliant colors, the opposition of light and dark values, of complementary hues, and of warm and cool colors. Harmony is achieved by the use of a pervading color, by modifying complementaries with their opposites, by gradation of value and hue. Also, horizontal structural lines evoke quiet, diagonal ones vitality."
handling natural elements:
- When painting hills or mountains, don't obscure the horizon, which will both destroy a feeling of stability, and the feeling of height and elevation.
- Remember to foreshorten mountains to show form.
- Portray the mountain either mostly in shadow or mostly in light. The same thing applies to clouds.
- p. 56 a rule: "whenever clouds are used in the composition in considerable quantities, their shadows should be placed on some part of the picture, and there is no laudable reason why this rule cannot be applied today."
- "keeping the ground parts mainly in dark values is practically the only method of bringing out the sky brilliance."
Artistic career
p.135 "Enjoyment in painting should never be overwhelmed by ambition. The latter has its worth but not at the expense of the former. Ambition should be directed more toward developing the artistic faculties than toward the production of pictures."
p.147-150 painting process
1. select and arrange elements in a scene
2. sketch the scene onto the canvas with charcoal
3. establish pattern of darks and light values by painting a wash or stain (often thin red ochre) over the dark or shadowed areas
4. use thin paint to establish color scheme
5. apply thicker paint to dark areas in appropriate hues
6. apply heavier paint, with attention to solidity of forms/ modeling, working dark to light but also all over the canvas, leaving highlights for last.
He used a similar process when using opaque watercolor.
- The simpler the design, the better.
- Contrast in texture and line
- Equilibrium in 3 dimensions
- Avoid being controlled by realism, thus over-modeling all accents and details. This will kill the picture.
- p.81 "even though full scale in pigment is used the relation of values within each mass in the picture must be very much closer than those outdoors. Without consideration for these facts, the student is likely to over-model or make his accents and highlights too strong."
- 'Every good composition contains three or four main values.
- use interchange: edges along which the contrast of values increase in gradation'
- p.69 "Isolated parts are very likely to detract if they have no attachment to the main groups."
- - p.72 manipulate texture in perspective to recede the plane. Put some interest in the background so that the eye rests there for a longer period of time.
- p.104 'in composing, both extreme dark and light main areas need to be repeated elsewhere, either in smaller proportion of mass of the same value, or modified slightly.' The same applies to color
- p.154 "The underlying principle of his approach to color, and to art in general, is the balance of vitality (contrast and opposition) with harmony. Vitality and contrast come from the use of brilliant colors, the opposition of light and dark values, of complementary hues, and of warm and cool colors. Harmony is achieved by the use of a pervading color, by modifying complementaries with their opposites, by gradation of value and hue. Also, horizontal structural lines evoke quiet, diagonal ones vitality."
handling natural elements:
- When painting hills or mountains, don't obscure the horizon, which will both destroy a feeling of stability, and the feeling of height and elevation.
- Remember to foreshorten mountains to show form.
- Portray the mountain either mostly in shadow or mostly in light. The same thing applies to clouds.
- p. 56 a rule: "whenever clouds are used in the composition in considerable quantities, their shadows should be placed on some part of the picture, and there is no laudable reason why this rule cannot be applied today."
- "keeping the ground parts mainly in dark values is practically the only method of bringing out the sky brilliance."
Artistic career
p.135 "Enjoyment in painting should never be overwhelmed by ambition. The latter has its worth but not at the expense of the former. Ambition should be directed more toward developing the artistic faculties than toward the production of pictures."
p.147-150 painting process
1. select and arrange elements in a scene
2. sketch the scene onto the canvas with charcoal
3. establish pattern of darks and light values by painting a wash or stain (often thin red ochre) over the dark or shadowed areas
4. use thin paint to establish color scheme
5. apply thicker paint to dark areas in appropriate hues
6. apply heavier paint, with attention to solidity of forms/ modeling, working dark to light but also all over the canvas, leaving highlights for last.
He used a similar process when using opaque watercolor.
February 26, 2015
This is a wonderful book, and very much of its own time (late 30's early 40's). Long sentences of ruminative thought, theory, and allegorical language:
"Nature is not the least concerned with artistic attributes, although she has prior claim on the artist and insists that her qualities receive first attention. If she is to be represented, she demands that she be not occasionally but often consulted"
The sentence is inspiring and throws me into a whirl of intention , but I cannot help laughing as I read it.
Descriptions, exhortations, and ruminations come in threes:
"While it is important that the artist thoroughly develop his artistic powers, it also is important that he use a tremendous amount of observation, concentration and painting to acquire sufficient knowledge of typical shapes, proportions and other characteristics of outdoor form, line and color, for as Whipple says; 'Natuure does not capriciously scatter her secrets as golden gifts to lazy poets and luxurious darlings, but imposes tasks when she presents opportunities.' "
There are many examples and annotated photographs of beautiful painted scenes, but it is difficult to understand what Mr. Payne means in his
footnotes about them. He describes principals of composition but it feels as if he could take any painting he likes and ascribe impromptu qualities to it:
"This canvas reveals the circular form of arrangement with a U influence. The vertical lines of the tree are well opposed by the strong definitions of the ground planes, as well as by the more subtle values and softened edges in the distance....."
But with all of my sniggers and giggles about this book, there is also much solid information about a color palette, working habits, and materials. It adds up to an invaluable source of inspiration and instruction.
After all, E.A. Payne painted gorgeously. I am happy to have an insight into his methods and ideas. I am sure to return time and time again.
"Nature is not the least concerned with artistic attributes, although she has prior claim on the artist and insists that her qualities receive first attention. If she is to be represented, she demands that she be not occasionally but often consulted"
The sentence is inspiring and throws me into a whirl of intention , but I cannot help laughing as I read it.
Descriptions, exhortations, and ruminations come in threes:
"While it is important that the artist thoroughly develop his artistic powers, it also is important that he use a tremendous amount of observation, concentration and painting to acquire sufficient knowledge of typical shapes, proportions and other characteristics of outdoor form, line and color, for as Whipple says; 'Natuure does not capriciously scatter her secrets as golden gifts to lazy poets and luxurious darlings, but imposes tasks when she presents opportunities.' "
There are many examples and annotated photographs of beautiful painted scenes, but it is difficult to understand what Mr. Payne means in his
footnotes about them. He describes principals of composition but it feels as if he could take any painting he likes and ascribe impromptu qualities to it:
"This canvas reveals the circular form of arrangement with a U influence. The vertical lines of the tree are well opposed by the strong definitions of the ground planes, as well as by the more subtle values and softened edges in the distance....."
But with all of my sniggers and giggles about this book, there is also much solid information about a color palette, working habits, and materials. It adds up to an invaluable source of inspiration and instruction.
After all, E.A. Payne painted gorgeously. I am happy to have an insight into his methods and ideas. I am sure to return time and time again.
November 9, 2021
This is a very dense guide on composition. I found it very difficult to get through. I did not agree with much of the self indulgent narrative surrounding what it takes to be an artist and what it means to have "talent". I found the writing to be outdated and rambling. While there were some valuable tips scattered in between the rambling on some nearly illegible plates of thumbnail sketches, I did not find them to be worth my energy. I'm sure that information is available elsewhere in a much more digestible package.
January 13, 2015
An old art book (1941 published) mostly about how to present objects in a pleasing compositional layout. Also Payne wrote that "a painter needs to study, meditate, experiment, and practice..."
June 7, 2024
Yes I just started reading it today, and I’m only on page 10. I’ll update as I go along, but so far, I needed those 10 pages in my life right now.
December 15, 2010
Whew, this was a tough read. I learned some valuable ideas about the use of shapes and values in painting and will certain apply those to my art. Unfortunately, the information was sandwiched in between pages of very dry and repetitive admonitions not to rely on the very rules he was handing out....
January 26, 2021
While this book explains many useful principles of composition, the important information is mostly lost in the repetitive jargon. It was hard to get through.
June 15, 2015
As much as I wanted to like this dense little book written in 1941 by a famous California landscape painter, the going was so treacherous that I had to give it up. Interspersed with wonderful information about composition were all sorts of beliefs about "talent" and the inability of the feeble to paint. And then there were many just outdated beliefs (when you paint a cloud it should fill up the sky in a puffy cumulous way). So, from where I stand, I felt I could absorb some of this as helpful, and then later find it was messing up my painting. I do admire Payne's painting, but this is an example where old mores and beliefs just don't work with the present.
August 8, 2011
A very tough read, due to Payne's indirect, repetitive writing style, but the content was valuable.
It is considered a classic for the landscape painter. I am glad I have it for my reference shelf.
The composition diagrams are the most valuable aspect of the book, in my opinion.
Another note: The book is filled with typos. Very annoying.
It is considered a classic for the landscape painter. I am glad I have it for my reference shelf.
The composition diagrams are the most valuable aspect of the book, in my opinion.
Another note: The book is filled with typos. Very annoying.
Currently reading
July 23, 2009This book is amazing. Very clear and concise and packed with valuable information about composition in landscape painting. It would be a valuable resource for anyone who wants to understand composition in general.
Read
December 27, 2007Nice how to book has a great selection of composition thumbnails and ideas on using brushwork and color as energy in paintings.
Read
December 29, 2012Extremely helpful and direct.
Includes exercises to help students understand design and color concepts.
Includes exercises to help students understand design and color concepts.
February 6, 2013
I refer to this book constantly. Great, great tips - this and Alla Prima are my main painting resources. Highly recommend to aspiring artists.
July 21, 2025
This is a classic on different aspects of composition for landscape paintings, not necessarily only those made outdoor. Payne himself was a great landscape painter and the 8th edition has various colour pictures of his work aa a bonus. The main interest are the various composition types that the writer discerns and illustrates by lots of thumbnail sketches. He also stresses the importance of thinking in value maases before considering details. His daughter in an addendum makes some interesting remarks on Payne’s painting process which is more practical than the writer’s own text. The language and discussion feels a little aged but it is still a very useful book. Personally I find the more recent book by Ian Roberts on composition more actionable but still Payne’s book is worth reading!
April 26, 2019
Pretty old fashioned, creaky style. Too much text and not enough diagrams, as was the style at the time this was written. A much better book is Mastering Composition by Ian Roberts, it is recent and full of illustrations.
January 3, 2019
Basic principals of composition applicable to photography as well as painting.
March 22, 2019
If you like to paint "A Plein Air", this is an excellent book.
January 31, 2021
This is another must have for painters. You can go back to it time and again for more.
January 31, 2023
Re-reading this must-have classic for all landscape painters. It's worth re-reading regularly, once a year, and referring to regularly.
November 9, 2025
Lots of useful information on landscape painting composition. The writing style seems dated - understandably so as it was written in the 1940s, but the content was useful and actionable.
August 12, 2012
Another must-read by any landscape painter!!
January 1, 2026
Fantastic look into the composition methods of master artist Edgar Payne.
Displaying 1 - 22 of 22 reviews