Acrylic Landscape Painting: Mastering Mountains and Rivers

Updated at: 23/05/2025

Acrylics offer a vibrant and versatile medium perfectly suited to capturing the dramatic beauty of landscapes, particularly the majestic interplay of mountains and rivers. Their quick-drying nature and blendability allow for both spontaneous brushstrokes and meticulous detail, making them an ideal choice for artists of all skill levels seeking to portray the power and serenity of nature's grandest features. From the jagged peaks reflecting in tranquil waters to the rushing torrents carving their way through rocky valleys, the possibilities are endless. The texture, the light, the sheer scale – all present unique challenges and rewarding opportunities for artistic expression.

This guide will delve into the techniques necessary to master the art of painting mountains and rivers in acrylics. We will explore colour mixing for realistic skies and water, effective methods for depicting texture and depth, and strategies for composing compelling landscape scenes. Ready to embark on this creative journey? Let's begin with a step-by-step process to paint your own breathtaking mountain and river landscapes.

Preparation and Safety Guidelines

Tools Needed
  • 10in by 12in linen panel
  • acrylic paints
  • burnt sienna
  • ultramarine blue
  • alizarin crimson
  • titanium white
  • phthalo green
  • yellow ochre
  • cadmium yellow
  • cadmium red light
  • synthetic flat brushes
  • round brush
Safety Guidelines
  • Always work in a well-ventilated area. Acrylic paints contain solvents that can be harmful if inhaled.
  • Wear appropriate clothing and protect your work surface. Acrylic paint is difficult to remove once dried.
  • Clean brushes thoroughly with soap and water immediately after use to prevent paint from hardening.

Step-by-Step Instructions

  1. Composition and Initial Layering

    • Sketching the composition using burnt sienna mixed with water
    • Painting dark values and shadows first, focusing on darkest darks and lightest lights in the foreground, narrowing the value range in the distance
    • Painting the sky using a mix of ultramarine blue, phthalo green, and titanium white
    • Painting the clouds using a light mix of titanium white, burnt sienna, and a little of the mountain shadow mix
    Painting the clouds using a light mix of titanium white, burnt sienna, and a little of the mountain shadow mixPainting the clouds using a light mix of titanium white, burnt sienna, and a little of the mountain shadow mixPainting the clouds using a light mix of titanium white, burnt sienna, and a little of the mountain shadow mix
    Composition and Initial Layering

  2. Mountain Painting

    • Painting the mountain's light areas using the same colors as the shadow areas but with more titanium white and burnt sienna
    • Painting the snow on the mountain top using a cloud mix with added shadow mix
    Painting the snow on the mountain top using a cloud mix with added shadow mixPainting the snow on the mountain top using a cloud mix with added shadow mix
    Mountain Painting

  3. Vegetation Layering

    • Painting distant vegetation using desaturated greens (yellow ochre, ultramarine blue, titanium white, phthalo green, burnt sienna)
    • Painting mid-ground vegetation with increased saturation by adding cadmium yellow
    • Painting foreground grass using the most saturated greens (cadmium yellow, ultramarine blue, yellow ochre, phthalo green, alizarin crimson, titanium white, cadmium red light)
    Painting foreground grass using the most saturated greens (cadmium yellow, ultramarine blue, yellow ochre, phthalo green, alizarin crimson, titanium white, cadmium red light)Painting foreground grass using the most saturated greens (cadmium yellow, ultramarine blue, yellow ochre, phthalo green, alizarin crimson, titanium white, cadmium red light)Painting foreground grass using the most saturated greens (cadmium yellow, ultramarine blue, yellow ochre, phthalo green, alizarin crimson, titanium white, cadmium red light)
    Vegetation Layering

  4. River and Reflection

    • Painting the river reflecting the sky using a mix of ultramarine blue, yellow ochre, phthalo green, and titanium white; and reflecting vegetation using yellow ochre, burnt sienna, ultramarine blue, and titanium white
    Painting the river reflecting the sky using a mix of ultramarine blue, yellow ochre, phthalo green, and titanium white; and reflecting vegetation using yellow ochre, burnt sienna, ultramarine blue, and titanium white
    River and Reflection

  5. Foreground Details

    • Painting bushes in the foreground using darker values of the grass colors
    Painting bushes in the foreground using darker values of the grass colors
    Foreground Details

  6. Refinement and Adjustments

    • Making value readjustments after initial paint layers dry, lightening the sky and mountains
    • Adding detail to mid-ground elements and restating dark values
    • Adding lighter layers to build depth and form in the trees and mountains
    • Adding details to the river and foreground elements, using broken color to create variety
    Adding details to the river and foreground elements, using broken color to create varietyAdding details to the river and foreground elements, using broken color to create varietyAdding details to the river and foreground elements, using broken color to create varietyAdding details to the river and foreground elements, using broken color to create variety
    Refinement and Adjustments
    • Adding highlights and sparkles to the water using titanium white mixed with yellow ochre
    • Adding final details and highlights to various areas of the painting to create depth and texture.
    Adding final details and highlights to various areas of the painting to create depth and texture.Adding final details and highlights to various areas of the painting to create depth and texture.
    Refinement and Adjustments

Read more: 7 Top Paint Color Trends for 2024: A Complete Guide with Free Downloadable Resource

Tips

  • Acrylic paints dry quickly and darker than initially applied, factor this into brushstrokes and value adjustments
  • Use desaturated colors for distant elements to create depth
  • Keep paintings tonally darker initially and gradually add lighter layers for depth
  • Use broken color (not thoroughly mixing colors) to create variety and texture
  • Use common colors throughout the painting for color harmony

Common Mistakes to Avoid

1. Muddy Colors

Reason: Overmixing colors or using too much white can create dull, lifeless landscapes.
Solution: Use a limited palette of vibrant hues and mix colors on the canvas to achieve subtle gradations.

2. Lack of Depth and Perspective

Reason: Failing to use techniques like atmospheric perspective and varying brushstrokes can make the painting appear flat.
Solution: Employ value changes, atmospheric perspective (lighter colors in the distance), and overlapping elements to create depth.

3. Ignoring Texture and Detail

Reason: Using uniform brushstrokes and neglecting textural elements like rocks and foliage results in a bland composition.
Solution: Experiment with different brushes and techniques to add varied textures and details to your mountains, rivers, and vegetation.

FAQs

What type of acrylic paints are best for landscape painting?
Professional-grade acrylics offer richer pigments and better lightfastness, resulting in more vibrant and longer-lasting paintings. Student-grade paints are a more affordable option, suitable for practice and experimentation.
How do I achieve realistic water effects in my landscape paintings?
Use a wet-on-wet technique for smooth transitions and flowing water. Vary your brushstrokes and add subtle highlights and reflections to suggest movement and depth. Consider using glazing techniques for transparency.
What is the best way to paint mountains that look three-dimensional?
Use a combination of warm and cool colors to create depth and shadows. Apply darker values to the recesses and shadowed areas, and lighter values to the peaks and sunlit areas. Layer colors gradually to build up texture and form.