More Student Success with the Moore Method of Painting

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Terrific work Sylvie … she only started painting a few months ago and has done a terrific painting. Here is what she had to say:

Thanks Rod
I loved your 3 step method, it was easy to follow and easy to understand, even for a 46 year old woman who has only been painting for a few months. I’m very pleased with how my painting turned out, but I’m sure the next time I do it it will be even better. I will be doing another of your lessons, I think it’s called Reflections on the lake. Can’t wait to get started.
Thank you again
Sylvie Philion

More Student Success Learning To Paint

More student success using the Moore Method of Painting today.

Rod Moore Landscape - first attempt with acrylics

Well done to Susan … here is what she had to say:

Hi Rod,

Find attached my first attempt at an acrylic painting.

I found the method really easy to follow and quite rewarding being able to complete the whole thing in just a couple of days.

I had not used acrylics before and only have a very little experience in painting using watercolours. So I did find the acrylics difficult to get used to. The paint seems dry and difficult to apply but after following your advice and with a little practice I have found that it is forgiving and it is possible to cover errors without too much difficulty.

I am excited to try a few more landscapes using this style and develop a bit of confidence with this medium. Hoping to progress quickly and then start to do my own creations but we will see.

Thank you for simplifying the process so well and sharing this method with those of us who want to try their hand at this form of art.

Regards,Susan Schrader
Susan Schrader

Learn To Paint Club – Now Open

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Learn To Paint Club – Now Open

A quick note to let you now that the Learn To Paint Club is now open.

The Learn To Paint Club is going to be the place to learn how to paint.

Check it out here –

Get the details here –

To celebrate the launch of the Learn To Paint Club we are giving 100 people the chance to join for just $1.

See the details at the links above.

I look forward to you joining us.

New – Learn To Paint Club – Sneak Preview Of Episode 3

Learn To Paint Club – Sneak Preview Of Episode 3

 I have been busy over the last few days filming episodes for the soon to be launched Learn To Paint Club.

This is a sneak preview of the third episode which is the ‘Morning Walk Sorrento’ , a great little painting project for oils or acrylic.

Have a look and let me know what you think.

The Learn To Paint Club will feature full length episodes of projects like this one with a variety of subjects, as well as both oils and acrylic projects.


Michael’s Painting Success

I love getting emails like this and seeing students finish paintings they are happy with. It’s just further proof that the Moore Method of Painting works. Michael has just completed our FREE five day learn to paint course.

Click Here To Take Our Free Painting Course

Read what Michael had to say below. Well done Michael and I’m looking forward to seeing more of your paintings in the future.

Michael is also now in our monthly draw to win one of our painting courses.

Hi Rod

Thank you for your tutorial, I found it to be very easy to follow and your tips on creating distance in the painting were excellent. I liked your relaxed style and felt at ease following your step by step approach to painting. I am not a beginner but for the last two years I have been trying to learn the art of water colours. I think I have reached a reasonable level but I am never going to be very good.

So I thought I would have a go at this. I had not got any acrylic equipment but I do have some oils, so I followed your instructions using oils and they appeared to work very much the same. The experience has boosted my confidence and I am very keen to try another subject, perhaps a little more complex.

You will notice on my painting that I altered the building, but that was not because I did not like yours but it was just to put my own mark on the picture and not copy yours exactly.

Thanks again and I look forward to the next tutorial.

Michael H



New FREE Course ‘Learn To Paint’


*** NEW *** Free Course ‘Learn To Paint’

Just launched a brand new course designed for beginners and intermediate painters titled ‘Learn To Paint’. The course takes you step by step through how to start painting using my simple 3 step Moore Method of Painting.

The course can be taken in either oils or acrylic. You can register for the course here:

Register For ‘Learn To Paint’ Course Here

You will see that we have recently set up the new Moore Art School Academy where you can now access all of our courses.

Creating Harmony In Paintings – Part 1

In this three part series I want to discuss with you some ideas on how to create greater harmony in your paintings.

Harmony is important in any painting as it holds the viewers interests for longer. Good harmony means that all of the elements in a painting look like they belong together. When a painting lacks harmony and unity you intuitively know something is wrong with the painting yet you just can not put your finger on what it is.

Hopefully by the end of this three part article you will have the keys to greater harmony in your painting.

So here are the three things we are going to look at:

1/ Balance

2/ Limited Palette

3/ Integration of Elements

When you apply the lessons in each of these three key areas your paintings will have a greater sense of harmony and unity … in short they will just look right.

So lets talk about Balance first.

Creating Balance In A Painting

When a painting is out of balance then it will not hold the viewer for long.

Balance is created when there is an even weighting of the elements across the painting.

Lets look at some quick sketches as examples:

In the above thumbnail sketch we have a little landscape with a house, background mountain, big cloud and an old tree log all on the left hand side. There is only a small bush on the bottom right hand side. If this was done up as a larger painting with this composition then even though the painting may be executed technically correct it would still not feel right because it is out of balance. Obviously all of the main elements in this painting are on the left hand side with very little to balance it out on the right hand side.

When you are designing your composition think of the old see saw you used to play on as a kid. Right in the middle was the pivot point. If you were on one end of the see saw and you were heavier than the person on the other side then of course your weight would bring your side down. Well your painting, when viewed, will be viewed as a whole. There is an imaginary pivot point half way across your painting. If the elements on one side have more weight then the whole painting will be brought out of balance. Again this is generally not something that people will assess consciously … in fact they probably could not point out this as an error. They will just know something about your painting was just not right.

The good news is it is easy to correct …

In this sketch I have simply added a larger tree on the right hand side to offset the weight of the elements on the left hand side. There would be a lot more harmony in the painting with this counter balance brought into play. What if there was no tree on the right hand side of the scene you are trying to paint? Well this is where you need to use some artistic licence of course and add a tree in.

Let us look at another example of a beach scene.

As you can see in this thumbnail sketch I have a mother and child walking along the beach with the waves coming in. Again the weight is too much on the left hand side. Now if you have learnt anything about basic composition you will know about the rule of thirds. The mother and child here are positioned at the intersection of the third lines yet the painting is out of balance.

Again … it is easy to bring a painting back into balance. In this little sketch I have added in the distant headland and closer foreground rocks on the right hand side. I have also added in a surf live saving flag. Now you probably do not need to add all three of these in to create a greater sense of balance … this is just to demonstrate what you could add in.

The important thing is when you are designing your next painting create a little sketch like these and play around with the positioning of your elements until you get the right balance. This will translate into paintings filled with greater harmony, and viewers who will linger longer when taking a look at your paintings.

Here is a great exercise for you …

Get your last ten paintings you have done and asses each one for the balance. For those that are not in balance ask yourself what can you add in (or take out) to have the painting be in balance.

Next week we will look at your choice of palette and how it effects the harmony of your painting. We will discuss how and why to use a limited palette.


How To Paint A Landscape – Step By Step (Part 1)

How To Paint A Landscape – Step By Step


In this series on how to paint a landscape I will take you step-by-step through one of the projects in our online course Painting Landscapes – Level 2.

Painting landscapes is one of the most rewarding challenges an artist can have as it gives us the opportunity to capture a moment in time in a way that a photo will never be able to. Landscape painting allows the artist to highlight that which he /she connects with in the landscape. Traditionally landscape painting has been the focus of most artists however true landscape painting has been on the decline in recent years.

In this two part article I want to give you a step-by-step overview of how I approach painting a landscape.

Note: The best way to learn to paint landscapes is from life. In this particular painting I had been to the location, walked around and taken lots of photos that I was using as reference for the painting. So make sure you are either painting on location (plein air) or working from a real life subject. Trying to paint landscapes from your imagination can only lead to imaginary looking paintings.


I start out every landscape painting by doing a quick sketch. Using a mix of Ultramarine Blue and Alizarin Crimson I outline the main shapes in the landscape. The key here is to simplify everything you see in the landscape into a hand full of large shapes. When you do your drawing as above the goal is to place these large shapes on the canvas in a pleasing composition. At this point I will use some artistic license if need be to move things around so that I end up with a composition that will be pleasing to the viewer.

When I am happy with the sketch I start to work on the sky. I am using a pastry brush (thanks to Robert Hagan) as the main brush I use for most of the painting. The sky is painted with Cobalt Blue and a little Titanium White and just a pin head of Alizarin Crimson. Notice that my brush strokes are random and I keep the brush moving to give the feel of movement to the sky.

In the lower part of the sky I add more Titanium White to the mix to lighten the sky as it gets closer to the horizon. I also start to work in some clouds. These are Titanium White with some Yellow Ochre to warm the clouds up. I rough them in initially and will come back to work on them some more later on. At this point the sky is quite wet as I have used a fair amount of thinner in painting in the sky … so now is the time to move on to another area to give the sky I chance to dry off a little.

Now I work on my most distant mountains. In order to have these look like they are in the distance you want to get the value and colour right. The value needs to be darker than the sky at the horizon but light enough to keep them in the distance. Using mostly blue helps to keep the mountains looking distant. Notice I take some time to work around the foliage of the middle distance trees. This can be a little tricky to do so you need to be patient.

Next comes the layer of mountains that are closer to us. Notice that it is a darker value … more Alizarin Crimson is used to darken the mix. You can see how it has pushed the first row of mountains back into the distance. Remember that all painting is about creating the illusion of three dimensions on a two dimensional canvas.

Moving forward I start to paint in the fields behind our center of interest which is the farm sheds and buildings. This is just Yellow Ochre with Titanium White. I also grey down the colour by using some of the mix that I used to get the initial sketch in. When you grey the colour down it helps to make it look more distant. Objects that are closer to us have increased colour saturation and as they go into the distance the saturation decreases (ie they grey  down).

I am now about to start on the middle distance and foreground fields. Notice I am still using the pastry brush at this stage as we block in the main shapes with the correct value and colour.

With the middle distance and foreground fields I start off with a light mix and low saturation. As it comes forward towards the viewer I strengthen the mix and saturation of colour. I also warm up the foreground more by introducing some Burnt Sienna and some Cadmium Orange. A good rule to remember is that warm colours come forward and cool colours go back into the distance. Notice the shadow of the main trees now plays an important role for a number of reasons … first it is a cool colour which contrasts nicely against the warm fields, and secondly it just breaks up the larger shape of the fields to keep it more interesting.

Now I move to a key part of the painting which is the farm sheds and equipment. I am now using the small flat brush. The key here is that I am just making marks to indicate the farm sheds etc. I am not actually trying to paint them directly. By giving the impression that these buildings and equipment are in the landscape the eye of the viewer and the mind fill in the blanks. Importantly around the lighter colour farm buildings I am adding in shadow colours of trees and bushes at the back. Again this is to create contrast in this focal area.

It is time now to move on to our middle distance and main trees. First thing I want to do is mix up a strong dark and strengthen all of the darks. This includes the tree trunks and branches as well as the foliage. For the middle distance trees we do not use as strong a dark as the foreground trees.

Well at this point we have blocked in all of the main shapes with the right colours and values. You will know if you have this right because you should already be seeing some depth in the painting.

Next week we will finish off the painting with the refinement and finishing touches.

If you want to learn more about landscape painting then please take a look at our online courses Painting Landscapes – Level 1 and Painting Landscapes – Level 2.

Leave your comments and questions below and I will be happy to answer any questions you may have.