Woodland path 6 x 8

Creating an inviting woodland scene involves countless small decisions that collectively shape the viewer’s experience. In my recent 6x8 painting “Woodland Path,” I explored how subtle adjustments to composition and color can transform a simple scene into something that draws viewers along a journey. I’d like to share some insights into my process and the thinking behind these decisions.

Woodland path 6 x 8

Compositional Adjustments

In the reference image, the main tree was positioned a bit more toward the middle. I deliberately moved it over, being careful to pay attention to the intervals between trees. When these intervals are too regular, it creates an automatic compositional fail—something that can undermine a painting regardless of how well other elements are executed. One significant departure from the reference was the addition of a small lake in the distance. This wasn’t in the original scene; I installed it to create a brighter destination point for the path. This is one aspect I truly appreciate about modern digital tools—the ability to experiment with compositional elements before committing to paint.

The Creative Process

I’m increasingly working with digitally composed references. Just this morning, I was developing a scene for a 9x12 painting, starting with a photograph I’d taken that showed potential. It had two main trees with light hitting them in an interesting way, but I enhanced it by installing a path, a distant meadow, and various ground cover elements. With each adjustment, I’m appraising the image and deciding where I want it to go. This ability to envision improvements is something we develop through experience. While some may attribute it to innate talent, I believe it’s primarily a function of putting work into creating images over time. Through practice, you develop the ability to discern what makes a good image and how to improve your compositions. In that case, I wanted a path that led toward light rather than darkness. This mirrors what I did in “Woodland Path”—creating a visual journey that moves from shadow into light.

The Quality of Oil Paint

In today’s world, where impressive digital images can be generated with just a sentence prompt, the main reason to create art is the need for personal expression. I firmly believe oil painting offers one of the most flexible and therefore expressive mediums available. While you can certainly express yourself through acrylics, pastels, or watercolor—all valid approaches—oil paint provides a unique give-and-take. You can work immediately or rub things in subtly, as I did in portions of the sky. I deliberately left some brushwork visible, avoiding over-blending that can remove character from a painting. This approach has taken years to embrace. I used to think, “I could make that just a little smoother,” but eventually realized that after a certain point, too many such adjustments take something away rather than add value. Now I appreciate when my skies have brushwork in place with a certain amount of movement, that can be then left alone.

An Engaging Path

Paths are recurring elements in my work, and for good reason—they create a natural way to lead viewers into the painting. In this piece, I wanted variety in the path without attempting a heavily dappled effect. The key with paths is avoiding uniformity; they shouldn’t be one solid color, nor should they rely solely on gradual modulation. You need variety. I’m particularly happy with how this path turned out. I prefer to make paths slightly darker in the foreground, becoming lighter as they recede—this reinforces the sense of movement into the scene. The path serves as both a compositional device and a metaphorical invitation to explore.

Trees as Sentinels

The dark trees in this painting are characteristic of my style. While I could have rendered bark and other details, I often prefer my trees to function as dark sentinels in the landscape. Lately, I’ve been more drawn to the contrast between bright skies and darker trees—it creates a visual tension that I find compelling. When working with these trees, I found it helpful to establish a slightly less dark mass tone around the tree trunks. This approach helped me stay centered when I felt a bit lost with all the background trees in the scene. By focusing on making the masses and shapes look good, I then built outward from those foundational elements. For those interested in exploring foundational Tonalist approaches in depth, my book “Landscape Painting the Tonalist Way” captures my years of experience and techniques. It’s available for $60 US with international shipping included to anywhere on the planet—I was delighted to receive another order just this morning.

Compositional Strategies

You’ll notice a half-tree on the left side of the composition. This is a strategic choice—unlike a focal tree being cut in half (which rarely works), this partial element helps keep viewers moving into the scene by subtly blocking the “exit” on that side. Conversely, on the right side, I deliberately left some breathing room between the furthest tree and the edge of the picture. This is particularly important considering you’ll lose about a quarter inch to the rabbit of a frame. Nothing in your painting should feel crowded—the intervals between elements are the primary driving force of the composition.

Color Enhancement and Digital Tools

The background hills in this painting received some special attention. I wanted to avoid oversimplification by implying various elements with different colored brush strokes. The foliage, too, incorporates lighter greens and oranges that weren’t prominent in the reference. While the original reference image featured mostly silvery grays and greens, I wanted more richness and variety, including more reds throughout the scene. This is where digital tools proved valuable. Using Photoshop’s neural filters, I transferred colors from another reference image with more reds, creating a layer that helped push the palette beyond “boring old green and silver.” This approach to color enhancement is something I recommend even to those who aren’t technically inclined. Investing time in creating better-looking reference material is one of the most effective ways to improve your paintings. After all—the reference won’t be displayed next to your painting in a gallery; it’s simply a tool to help you create something beautiful.

Synthesis

I’m genuinely delighted with how “Woodland Path” turned out. The combination of compositional balance, varied color, and the inviting nature of the path creates exactly the sense of exploration I was hoping to achieve. Each element—from the dark trees to the distant lake—contributes to guiding viewers through this woodland journey. For those interested in seeing more of my process, including the struggles and solutions that don’t always make it into these edited videos, consider joining the members area where I share complete painting sessions in detail.

Until next time, take good care of yourself, your family, and all your loved ones—and as always, stay out of trouble.

Mike