Woodland and Fields: Light from, Light through and Light on

It is important to reflect on the fact that woodlands and fields help to sustain our natural environment. We would be vexed if they vanished from our world. Therefore as impressionists plein air painters, we should be at the forefront to protect and preserve these natural splendors. Whether we paint high density or low-density forest in relation to flora and fauna of a meadow. One fact holds true... its alive, its habitat for all the creatures big and small this is our muse this is our Divine environment. And as a result, we should paint it such. With respect and great joy because we are part of it.

Light From means light source namely the sun. 

Light Through describes transparent and translucent effects of sunlight channeling in one side and out the other side of the subject matter. 

Light on is the way light changes the the appearance of subject matter.  

So when we gaze upon woodlands and fields we experience beauty. We feel a part of something much larger than ourselves we feel rapture. Impressionists call this their sensation. Here one is seeing things move in the light, smelling things in the air, hearing nature's music, feeling the ground below, and the temperature of the air. This is a sensation and this is what impressionist paint. Not just the eyes but the heart, and sensory awareness. This is why Impressionist paintings are so wonderful to behold yet even more splendid to paint. This is true because one is alive in the moment. From this understanding one paints. Light in all of its ways of woodlands and fields.

Color and Light Ariel Perspective  

Impressionists are sensitive to the spectrum of light from its source. For landscape painting its the sun. Here things a modified by their proximity toward and away from the light source. A mountain at a distance looks smaller and bluer yet at close range, they look bigger and warmer in color details are evident. The mountain looks bluer do to the amount of atmosphere between you and it, therefore, it looks bluer. At close range, the mountain looks less blue because there is less atmosphere between you and it.

The Light of Woodlands and Fields

Captivating and lovely things are fleeting in the light. Moments come and go so quickly and impressionists are keen to capture it. Woodlands and fields are the muses of this field guide. The key feature here is light! Light is the source that forms the visual narrative of the impressionist.  

When painting Woodlands and Fields as your subject matter It is important to value where the light begins and ends. Because Light is the basis of impressionism it is a visual story of landscape translated into color and light.

Light and color are one they stimulate our sight. With this understanding, Impressionists use this combo effect to make things visible. Here are example scenarios of woodland and fields: 

Winter

In winter the time between autumn and spring standing in a field presents special changes for those who are inspired to paint in the coldest time of year. Shorter days and longer nights present new optical considerations. The sun’s lower trajectory in the sky makes the dormant meadow and tree line look quite different. Most notably is space, with leaves gone on most deciduous trees the pines present themselves. All the brush in the understory is revealed more distinctly with the ground below. The sunlight entering at oblique angles causes dramatic shadows and cast shadows in the icy light. Rain, ice, and snow change this landscape in the most profound ways brittle stillness and glare. For these things, the impressionist must be of the sound constitution to paint plein air and of inspired wit to want to paint it. 

Spring

In spring is welcomed after winter standing in a field its a time of great anticipation for plein air painters. This period is short before summer begins. The vegetation of woodlands and meadow appears to blossom magically against mutable skies. Its easier to see the source of things and subject matter proliferate at such a rate an impressionist is hard-pressed to capture the shoots and sprouts of nature. Furthermore, there are strong temperature shifts to contend with the meadow before you may look warm and the woodland beyond cool and within mere moments light works its magic. Regardless of what nature presents have fun and retune to your site often so you may know it like an old friend.   

Summer

In summer standing in a field, one is aware of the way sunlight filters through and reflects off it. Now in keeping with this time of season observing woodlands at distance sunlight sculpts the trees facing the light whereas the trees behind become dappled. In reverse standing in a forest sunlight filters like stain glass windows in a cathedral. The meadow beyond looks pastoral with sunlight undulating from the breeze on flora and fauna. 

Fall

In fall standing in a field one witnesses the transition from summer to autumn. The shedding of leaves due to the transition from warm to cool weather cause woodland and fields to change. They release a brilliant array of color creates some extraordinary opportunities for light. The personification of autumn is illuminated subject matter both on the trees and meadow but the ground as well. Those fallen leaves also reflect light and change the very nature of what we see. For Impressionists subject matter is a kaleidoscope.