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Introduction to Landscape Painting

THE MOST IN-DEPTH LANDSCAPE PAINTING COURSE EVER PRODUCED: Landscape painting in a studio compared to painting on-location are completely different experiences, each with their own set of challenges to face. Painting landscapes on-location means you’re faced with constantly changing natural lighting, as well as nature, but the experience itself can really make your inspiration flow. In this painting course, Artist Ben Fenske teaches you the fundamentals of landscape painting through a series of lessons. These lessons include easy to follow instruction, analysis of famous landscape paintings, and demonstrations shot on-location, to help you better your painting skills.

24 Lessons 50 hours of videos

Level 1

A light effect is determined by the position of the sun in relation to the landscape painting scene. A scene with the sun behind you will look vastly different than a scene with the sun directly in front of you. In this lesson, you will learn about the different types of light effects created by the position of the sun, and how they affect the value relationships in your scene.

Level 2

Some people associate landscape painting with big natural views, but there’s no difference in approach in painting an urban or rural landscape. It’s often valuable to have a human element in a landscape painting. A building, a fence, a road, or a path: these are things that allow a viewer to feel more connected to the scene. This next demo was set up in an alleyway. This scene was chosen because of the way the telephone poles broke up the mass of the sky to create interesting shapes, and because it allowed for the use of two-point perspective.
The scene is blanketed by a canopy of trees, making for dappled light effects. It’s almost like an interior with windows looking out to the rest of the landscape. As the light filters through red trees, it created fast-moving patterns of light and shadow on the forest floor. This creates a significant challenge. Every few minutes, nature offers a different design, so you have to make decisions based on these options. You won’t see a specific pattern of light and shadow repeated unless you come back the next day. Nature offers an infinite amount of possibilities, and it’s our job as a painter to select and design them.
This scene of rocks and trees, overlooking a creek, was done it the late afternoon. This had its own special challenges, considering the location was in a canyon. The light was changing fast, so it was painted without as much time spent on locking in composition. As painters, we are always weighing our options. If more time was spent, the entire canyon would have been in shadow.