- Lesson details
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.
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.
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next to a creek.
There's sort of a clearing here and there's going to be dappled
light changing throughout the session.
There's some strong strong verticals that are really nice,
lots of interesting shapes and I'm going to start a big
canvas. And paint over a painting that I started last week that
I'm not going to get back to.
So this will act as a nice middle ground and it has some
texture on it already, which I like to paint on top of.
So I'm going to start like I always do with drawing out the
composition. And I'm going to try to make sure that I get an
interesting pattern of light and shadow, especially on the
ground plane. And that's going to be changing throughout the
session a lot because this is dappled light.
It's light cast from the trees around onto the
I'm not going to run out of room on the canvas.
I looking at major lines and angles. And as I'm doing this I might suggest a
little bit of shadow, but I'm not - I don't want to decide on any
specific color right now I just want to leave it open.
Okay, so I've got some of the main lines drawn in.
And part of what makes a scene interesting is all of the main angles are slightly
different. Lots of different angles, all of the main trees have slightly different angles.
The mountains are both coming in at different angles.
The foreground is going back at a slight angle this way.
That's part of what makes the scene interesting at this level, just on a linear level.
I will try to keep that in mind when I proceeded the painting so I don't
get everything too much the same.
I don't want all these trees to end up the vertical and look all the same.
Okay. I know I'm at a point where I probably need to start deciding which branches
to draw in at this stage in which to just leave out for an hour or
simplify. So some things are really obvious.
Like I want to get this trunk and the main trunks here drawn out but some
of the smaller branches I'm have to decide to either discuss them in now or maybe
sketch them in later, simplify them.
Or group them together. So I'm at that stage right now.
So I'm going to do a couple more smaller branches on a few of these trees
and at that point I'm going to start painting.
Okay, so at this point I've got enough
drawing information to start painting a lot of these are just notations for me for I'm
taking note of certain landmarks.
This is the top of a middle ground tree that I'm just kind of
traced over so I know where the sky starts got the main.
the main branches and trunks and the main angles drawn in and I want to keep
the light and shadow a little bit open right now because I want to wait
until I see an interesting pattern of dappled light and then and then go for it
when I see that.
So I think I'm going to do a little
plan on my palette again so I can just sort out the main values
and masses or colors I'm going to deal with.
Okay, so I'm just doing a sort of mass thumbnail sketch.
Partially just it helps me organize everything.
There's a big canvas here.
It's easy to get lost.
And start thinking too much about detail and I want to just keep in mind that
there are the big parts, there are the important parts.
I’m going to do a little sketch.
And try to divide up all the masses into maybe five or six categories.
Okay. So I've got everything sort of sketched in here for my plan.
Now I got to come up with.
six or seven values for my masses. So this is where the process of interpretation and
simplification comes in. I'm also keeping track of
a value hierarchy. I want to know what's the lightest thing,
what's the second lightest thing, third lightest thing, all the way down to six or seven.
I want to start with the sky
because that's more or less the lightest thing in the picture. Okay,
the second lightest thing now.
And I think the second lightest thing
might be - I'm looking now,
I'm observing. There’s a lot of very close middle tones. I think there are some trunks that might
be the second lightest thing.
For example, this one, which is just kind of a sliver of a shape.
There's also one here on this side.
And that's about it. I think the third category is going to be that the
ground plane in light. So the grass that's being hit by sunlight.
So this should be just slightly darker than the last thing that I put on.
And maybe that's too dark.
So the ground plane now.
There might be a little chapels around.
This is where the top of light part comes in.
Okay, fourth category would be -
it might even be the same value for the different color is the trunks
the main trunk. The part that's in sunlight.
I'm thinking mostly value here.
This would be the third or fourth darkest thing in the painting. Okay.
the fifth thing might be the middle ground mountain and maybe the background mountain are
very close in value. And the value of the palette is actually pretty good
for that. I might just be able to not paint that I might just know that
it's a little bit bluer in the background
and slightly lighter. And then second to last there's the ground plane that's in shadow.
Very intense green but also fairly dark.
And I might just have to
alter the value of the middle ground a bit.
The middle ground mountains, lighten that up
so it doesn't conflict with the value of the foreground shadow. Okay,
so very simply and I guess the the darkest thing would be the trunks of
the trees that are in shadow.
So very simply this is the plan for the painting.
The value plan and sort of a color plan.
So the lightest thing by far is the sky
and coming in second is a few of these
lighter trunks that are getting hit by sunlight and then the te grass that's getting eliminated
by sunlight, then some of the main trunks in sunlight, then the middle-ground background,
and then the ground plane that's in shadow.
And then of course the vertical or upright plane and shadow.
So I've got one two,
three, four, five, six, seven,
so that's perfect. So this is what I'm going to keep in mind when I am
now moving to the bigger canvas.
And I'm always thinking this in the back of my mind.
That no matter how much detail I'm going to try to get in the bigger canvas.
I'm thinking this plane, always these bigger divisions is bigger categories.
Because if the painting doesn't work on this level,
it won't work. This is what the painting will or should look like from
40 feet away when you look at it from about 40 feet away.
So it's readable.
It looks - it's easy to tell exactly what's going on
at this level so I don't want to get too far away from that at any point.
Okay, I'll start mixing up colors for the big painting.
use, the big categories of masses.
And I've got my composition placed and now I have to kind of decide what I
want to start with. And I think in this case,
I've got - the canvas as a sort of middle tone.
So one of the furthest things from the middle tone of the canvas right now is
the sky so it might make sense to start putting in the sky
first. Some of the drawing lines are already pretty close to the upright shadows that eventually
put in there so really the furthest thing behind right now is probably the sky and
maybe some of the light on the ground.
And so I'm going to mix up a sky color,
start putting in the sky.
But if I see a really interesting pattern on the ground,
I might start putting light on the ground as well.
So as I'm doing this I will leave some gaps for leaves and small branches.
But some of those leaves and small branches
I will paint into the sky later on.
And it's just a decision that I'm making as I go,
what I want to leave and what I want to paint for now.
Also trying to get a little bit of a gradation in the sky so up near
the top of the sky.
I'll make it a little bit darker little bit Bluer.
I'm not really deciding on a cloud pattern right now
Because the clouds are not really what I want at the moment.
And I'm also not filling anything solidly anywhere.
Because I want to be able to change it.
Okay, I'll come back to that in a second,
but I want to jump down and start
getting some of the dappled light on the ground.
and nobody got an idea of The color in value for my plan.
I can even check it
against them. And I can variate a little bit but it's all kind of in that
light. Sunlight grass family, everything I'm going to put down
right now. I do like some of these dead leaves that I'm saying right now and
I might just get a little bit of variation right from the start.
It's always tempting to put these details in and the variation and it's kind of a -
it’s a constant decision making process to go more for unity
or variety or simplification now and detail later or a mix of the two.
And I'm trying to do a mix of the two.
And I know right now I'm just looking at this one of the main branches here
and I really like how violity blue it looks right now.
So I'm going to put some of that in.
And this one has a lot more reflected light on it.
So I'll make that different right from the start.
And I’ll start working the light shape a bit on that too. So foreground masses, there's
a lot of variety in foreground masses.
So in this trunk I can get away with having a lot of variety.
Whereas in the back hill
I want a lot less variety.
Okay, I'm starting to put some of the trunk shadows down and I want to get
a variety. I’ve got a very light one,
very light trunk in shadow, one with more variety and some darker areas, one
that's a little bit in between.
And I think I will just keep moving around.
I'm going to probably try to hit all the masses,
but I don't really want to feel or finish anything at one point.
I want them all moving together.
I'm going to mix up a tone for the the middle ground or the first hill
And nature it just seems to be a sort of jumble
violets and greens all mixed up and kind of evenly spaced.
It is almost just as much violet
as there is green. I’m gonna have to come up with a way to approach that.
I might start laying in with all something more violity and then come over the top
of it later with greens.
I think that's what I'm going to do.
I mainly - I just I want to get the value of it.
A lot of it's already there because of the tone of the canvas.
So I'm jumping around a lot,
I just want to get everything relating
to each other. And I'm covering up some of the canvas
that just was distracting. So I'm going to decide at this point,
I haven't really decided on the design of the foreground.
When I first arrived on the scene
there was a big spotlight effect right here Illuminating both the trunk and the area just
around it. But for the last hour or so,
that's all been in shadow.
So I've got to decide
at some point do I want to put the spotlight there again,
or do I want to paint it how it's been for the last hour,
which there’s more light in the foreground,
right up to the edge of the canvas.
So that's what I'm trying to figure out now.
And I think I'm going to go for that spotlight effect a little bit more.
I'm just going to have to do it from memory at this point. Something I can
change later to if I don't like it.
So I’m gonna try to illuminate this area,
even though right now in nature that area is in shadow.
area is starting to Come together. I've got the big massES placed.
Now I really want to start moving out a bit, just going to that those places
that are for this behind.
So right now the sky - I need to get more back to the sky and start
looking at some secondary masses like these few trees here and I'll start
dealing with some of the leaves and middle ground trees as well.
And I'm trying to keep everything clean.
I've got a brush for every color more or less and I got clean brushes if
I need one. The easiest thing to do with oil paint is to make a muddy
color. So I'm trying to keep everything clean.
I'm just looking now - I'm seeing some.
Some of these leaves that are being illuminated right now.
I want to make sure I get those, I just like how they look so
I'm going to make a few notations there.
And there's some highlights as well on the leaves over here that I really like right
now. So I want to try to make sure I get some of those in.
Even though it’s not a mass.
These are usually the details saved for the end of the painting.
I just want to get some idea of them right now.
And since I do have everything mixed up more or less right now,
I've got almost everything that I'm ever going to need mixed up on the palette somewhere.
At least for the main colors. And I've got a brush for each of
them. I can kind of - I can quickly
move around. I've got - if I see it a little spot of light that I really
want to capture on the tree here,
I can just grab my tree light brush and start making a few notes there.
Okay foreground leaves I don't have yet.
I'll mix up some of those.
Slightly darker than the ground plane.
It’s gonna be this stuff over here.
I'm starting to work a little bit of variety into the middle ground. So I started out
the middle ground as a very sort of a grey, maybe a violy grey.
I want to now mix up more of a green that I can also start putting
in the middle ground. So more of a green yellow so I can get more variety going
on in the middle ground.
So I'll take a new brush for that.
Okay I'm stepping back and I'm just thinking furthest thing behind.
What is the first thing behind?
What do I need to work on right now?
I think it's this area. I think I need to clarify that a bit.
And there are some leaves right in the foreground that I need to start adding.
I'm starting to paint wet into wet a little bit.
jumbled information, and I'm trying to keep in mind that.
There's a big hill behind everything
and then there's also a few trees in the in the middle ground. So I'm trying
to simplify them all into this this mass right here.
The same one that I have on the palette here.
So this middle ground mass. I'm trying to keep that in mind.
It's basically one value. It's really just one value that's got a little bit of
variety, color variety and a tiny bit of value variety in it.
And so I'm trying to keep that in mind as I as I interpret the scene
and try to get some of the foreground leaves
in front of that trying to get some of the mountain in behind it,
trying to get the sky behind the middle ground tree.
And it's all kind of coming together right here.
It's a lot harder to interpret then
for example this which is already simplified for you.
So it's a little bit of back and forth
with a different brushes. And I'm actually getting a little bit lost myself thinking of what
to do here. Trying to pick out some of the reds and oranges in the foreground
to kind of help pull that forward.
And I still haven't decided on
really the lighting of the foreground yet.
I think I'll change it later.
Okay, Furthest thing behind again is the sky area, so I’m gonna jump back up here.
I need to do something with that.
So I'm trying to work some of the leaves
back into the sky. And it's - again
this is the trickiest thing to paint in a landscape really is this, a tree against
the sky or leaves against the sky.
It's something - it's called a transparent mass.
So it’s a kind of a - it's a mass of leaves
but yet there are little tiny sky holes everywhere.
So how do you deal with that?
There's a lot of different strategies.
This is my strategy right now.
I've left some areas, mostly leaves, and I’ll paint sky back into them. Painted sky at
first and I'll paint leaves back into them.
And it's just a very tricky thing in landscape painting.
come together, the effect of light.
I still want to spend more time right now dealing with the sky and the leaves
and sort of working those together.
I'm not happy with the design of the light pattern, light and shadow pattern, on
the ground right now. But I might leave that
for this session. I might leave that alone. The effect of light is working.
It's a design issue. I also think that I might leave a lot of the middle
ground fairly simple for now and I can work into that on a different session.
Same thing with the trunks and branches.
There's a lot of canvas showing through.
Here as well, a lot of canvas showing through, but it's not disturbing the effects so
I'm just going to leave that.
So the thing I want to do mostly right now is work on the the leaves
against the sky. Because that's something that I think would be a good thing to do,
wet into wet at this point.
It's just appearing - these leaf trunks are appearing
too solid right now. So I need to work more sky into leaves and more leaves
into the sky. Actually, I just do that.
I might just work the leaves into the sky.
It's a little bit easier right now.
Okay, so it was just looking a bit too solid.
So I'm going to - I painted some sky and now I'm going to paint the leaves back
into it. Some of this stuff might be able to be left as-is
for now this stuff. If it's working,
I like to just leave it.
So this actually I didn't intend that to work as well as it just did
but that's actually not bad.
I'm just going to leave that area and work these other areas.
Okay, there's a much better feeling of transparency there now.
It would be nice to have a few clouds and I want to try to
indicate a cloud or two.
And I don't really care
what's in the sky right now because I just want to make it
work for the design of the painting. That's too orange.
Just a couple indications of clouds.
I might change the design later.
But I thought the sky was missing something.
Okay so I've got some indication of some clouds now.
That's too much. And there's a rock in the background, a few rocks
that would be nice to indicate.
At least a little bit.
I might put a few of the leaves of the middle ground too that are being illuminated
right now. Kind of nice.
I'll just suggest a few for now.
So I'm pretty much - I'm just trying to wrap this up for the next session.
Looking at any glaring things that are just - I'm just trying to look and see what
is really bothering me that I can fix in the next 5-10 minutes.
Some things I have planned for the next session already.
And so I'll just leave certain things that I want to change for now.
So I'm just looking around, this area right here.
There seems to be a weird line going through here, like this branch is connected with
this backline. I just want to get rid of that.
And some of the light to shadow transitions can be a little bit softer in the grass
I think. For example here they're very hard and blocky and I might just get
rid of that hard blocky feeling.
Same thing here. I’m gonna add a few greens to the middle ground.
Okay, I'm going to do a little
bit more work on the sky.
I'm still not happy with that.
I wanna - while I have the wet into wet
I want to work a few more things in there.
And on this side as well.
I don't want to paint every leaf, that's not really the goal.
I want to just identify a few masses and put them in there.
But it's starting to look cluttered already.
Okay. I might just leave some of these branches for next time.
I might just paint that out.
Try to pull a few of these overhanging leaves and suggests those.
But I think at this point,
I've got a lot of paint on the canvas and I think I'm going to stop
for now. I don't want to muddy things up too much.
So with that, I think I will
call this a day on this painting.
I got a good two hour session in, I got the whole canvas-covered.
Everything is pretty organized, I’ve kept to my plan more or less.
It's still open enough so I can continue to work on it next time.
And the light today is not coming back to how I want it.
So I'm going to pack up, let the painting dry, and then come back on another
I've had a little bit of time away from it and it’s had time to dry.
So I'm coming back now with fresh eyes
and I want to just take a look at the painting now, take a look at
nature, and take a few minutes and come up with a plan.
Look at some of the things that I want to change and come up with a
strategy today so I'm using my time wisely.
I got here a little bit earlier today
so the light is a slightly more frontal, it’s going to move around to more side
lighting and eventually backlighting so I'm keeping that in mind.
One thing that I want to change that I wasn't happy with last time is the
the design of the light on the ground.
I think that's the first thing I'm going to look at.
I also probably want to design a little bit the shadow and light on the tree
and I'm noticing that this area looks a bit flat right now.
So I want to get more light on that.
Okay, so I'm just going to take a few minutes
and try to take this scene in and come up with a plan.
Okay, so I actually really like the design of the light in the foreground,
how it is now, so I'm going to start jumping into that a bit.
Kinda draw out some of these branches that I missed last time.
Okay, but I'm going to start getting right into the sunlight because it's going to move
fast. And I'll probably jump around a little bit.
So if I see a nice pattern on the tree,
I'll probably start painting there.
I'm basically looking at all the masses still and comparing them to each other.
So right now I'm going to lighten this up a bit.
I'm just gonna bring more light into the foreground. And I'm sort of keying up some of the
grass as well as I'm going along.
So there's room to make value adjustments.
I’m gonna maybe lighten up some of this shadow, maybe change the color a bit.
So I'm just still comparing all the masses, trying to change the design a bit.
This painting is really a lot about design choices
because the light, the dappled light, is changing so rapidly and so often.
And a little cloud just went over.
Cast shadow back here or sorry yeah,
that's casts shadow. So I’m just getting more variation as well as some of these masses as I go
along. I'm just trying to design the depth of the light a little bit more.
Try to make it make sense.
And Trying to see what's working and just leave it.
It looks like the clouds are moving in a bit.
I hope not for long.
look at the design with fresh eyes. So I'm just looking at the painting now
in the mirror. And it's like looking
at a painting that's not mine,
and I can just see immediately
things I will want to change.
So one major thing is introducing more shadow, middle-ground trees, to this area.
It got a little bit light last time and I want to differentiate this from
this, sort of this back hill. I’ll introduce more shadow areas.
I'm still not sure about this.
I want to keep working on the design of that a bit.
I think I need a few cooler sky reflections on some of this
foreground. Okay, the foreground I think it's getting a little bit broken up.
I want to tie a little bit of it together.
I want to look for places I can kind of tie things together a bit more.
Or unify. I think this area can be unified.
Okay, I might come back to this area later.
But for now, I think I need to start working other parts of the painting.
I’ll just take one last look at that area.
I might introduce a little bit more.
I'm going to go back I guess to my
original design of it. Lots of clouds going over now.
It is kind of nice.
I can see exactly now where the middle ground ends and where the
mountain is in the background.
I'm just kind of looking what sticks out. I'm seeing
there's some darks in here that I want to kind of get rid of, they’re a
little bit distracting for the design.
I'll just take them down a bit.
I want to lighten up this hill a bit.
But before I do that,
I want to reinstate some of the shadow middle-ground trees.
Maybe I'll start with some of these cooler shadows that are set in the same vein
as these cools down here, I’ll introduce some of those.
Alright so I need some more shadow areas back here.
And I’m just adjusting the value of some of the trunks,
some of the trees back in the middle ground.
I don't want them to compete with this.
So I'm going to lighten them up a tiny bit.
I was waiting for the sunlight to come back a little bit.
So I'm just kind of adding a few branches.
One where I kind of know the value already and I want. Trying to make
sense out of some of this stuff.
And I just want to make sure that the objects in the foreground have more contrast
within them than the objects in the background or middle ground.
So in this foreground tree there's a lot of room for variety.
And I've got to make sure that I don't have that much variety in a sort
of middle ground tree. So here I’ve got
dark accents and light on top and average shadow value and in the back I want
to have maybe one shadow value. Can unify some of this a little bit more.
It looks like it's going to be cloudy.
Right now I'm trying to get a little bit more color into the - especially the foreground
trunks. There’s a lot of reflected light.
And I want to make sure I have enough yellowy things in the foreground so I can
aave room to push the background a little bit bluer.
So I'm seeing a lot of reflecting light in this tree right now.
And I'm just going to go for that a bit.
Same here. I see a lot of green
orange reflected light coming off the grass, bouncing back up into this
broken branch here. So in the last session I kind of was concerned more with
value and now I'm going to start paying a little bit more attention to color.
I also want to continue to paint in some of the leaves here and try to
create that pattern. So I've got leaves in shadow, leaves in light,
and also the hill behind them. So I've got three or four
things going on there. I'm going to hold off on the sky for now.
I'll paint that into the leaves later on.
I was a couple of foreground branches that I want to get in here.
I'll come along and paint the lights into this
in a minute. At least that's the plan.
So these are - these leaves
I'm putting in now belong to this tree.
And part of the beauty of the scene is how all of these middle-ground,
foreground, sky, they all kind of weave together.
I want to - I’m going for that sense that when you step back you can start
start to see the different levels kind of
coming together, but I'm approaching it with a broken color.
So I've got tell me mixed up now
that's roughly the shadow portion of the leaves that belong to this tree.
I've got one that I mixed up for the leaves in shadow for the middle ground.
Fairly soon I'll mix up something for this back hill, I'll mix up some
sunlight leaves color, and I'll start sort of try to design them and weave them together
and go for that sense that there they are
different objects stepping off into space but that they're also this sense that they don't
have a solid form either.
So this tree has a very definite solid form.
Although even that is obscured by the dappled light.
And so I'm kind of going for that that affect.
It's a pretty difficult effect to go for.
But that's what I'm going to try to do.
But I'm keeping in mind,
I've got the most intense colors in the foreground.
I've got all the dark accents in the foreground.
I'm making sure I have spots of warm color and variety in the foreground, so I'm
keeping track of all of that. But I'm kind of right now just setting myself up
to add the other colors and it's nice that there is actually a base to
work on. And I can kind of drag some of these colors across the first
session painting when some of that first session painting I can leave - actually most of it
I can leave. A couple of foreground leaves up here coming into the picture. Okay,
so all these darker or intense green leaves belong to this tree.
I don't want to hold on to that sense.
So try to separate this back tree against the sky from this foreground tree.
And it’s mostly through value and color.
start mixing up a few other
colors for this area. I might just unify some of this branch and start covering up some
of those lines from last time.
I got some really orange and green foreground leaves coming into the canvas.
Up this way too.
I think I'm going to start mixing up
a few things for the the lights now.
Keep stepping back because it's the only way to take in the whole painting is stepping
back. Okay. So once the sun comes back,
I'll start mixing up a few colors.
For now all the sun's gone.
I'll just keep painting in a few branches and leaves that I know -
I already know what color they need to be.
I get a sort of really warm,
reddish orange branch here. But should help pull this foreward a bit.
Couple of them. Put in some dark accents maybe.
Okay, the sun’s back and I'll start mixing up a few colors now.
And I might just start suggesting some of these
really white trees. Little bit of dappled light on these foreground leaves.
Lots of contrast, intense color. Foreground leaves in sunlight. And part of what I'm doing
I'm just trying to look for areas to either obscure certain things or enhance them.
In this case I just tried to use some of the leaves behind this tree to
kind of pull it out to define the form of this trunk coming down
a bit more. I'm going to go to the middle ground
leaves that are in sunlight.
Make sure it's less intense than the foreground.
And I might just wait until the sun comes back.
Okay, now I can - with the sun back I can jump back up into this area.
And there it goes again.
But I got a look at it.
Okay, that area is starting to look a little bit sunnier.
I think I need a violet color as well.
So I’m just thinking about light now
but I need another color back there, it’s more of a violety blue
in the light. Some of the background now, some of them back hill.
Okay I might add a few of these highlights on this foreground branch tou. I’m gonna do
that now. Okay, I want to get a bit more contrast in the back hill.
I'm going to lighten some things up.
And right now it's very - it
has a lot of warm colors in the middle hill.
And I want to just introduce more cooler greens into this mass and lighting it up
at the same time. And I probably need a few violet's back there as well.
I have a few more middle-ground trees here that I need to find.
Start going for some of these
really yellowish leaves here.
Try to break up the middle ground a bit.
I think I put them in too dark.
I'm kind of painting them and the sun's gone away.
I wasn't paying attention there.
more. And I want to bring more warmth to the foreground.
And I’m seeing more greens and oranges reflected into the tree, the main tree.
But especially reflected into some of the under planes of these branches.
Okay, I think I'm going to hit a few more darks here and then I'll start
working the sky into that as well.
Transcription not available.
And I'm thinking about that idea of refraction and sky holes a little bit.
And so yeah I want to just get a sense of transparency here.
Maybe a few more slightly solid forms.
And as I'm doing that I'm sort of still designing the shapes a bit.
So I’m gonna mix up darker things for the smaller sky holes and I think I'm
going to go for more of a gradation than I started out with. So
I'll make the top of the sky a bit darker.
Okay I’m going to try to now just weave in a few more clear cloud shapes.
And I've got to get a bit more white I guess.
Now my palette is getting pretty muddy and it’s time to just clear off and make a
clean mixing area. I think I'm going to
just put the painting
away for now. The painting moved forward today
but there's still a lot of things bothering me. Mostly
it's the design of the light in the foreground.
It was a thing I had most trouble with when I started and I think I
should have taken the time just to sort that out from the beginning
because it's such a a big part of the composition, the light and dark pattern here.
It's been a little bit difficult today with the sun going in and out.
But I think I've got a little bit more clarity here in the sky and these
trees. And I've lost the unity in certain places and I've gained detail and clarity and
variety in other places. I'll take this painting back to the studio now and over the
course of the next few days in and week
I'll just take a look at it every once in awhile and let my mind start
thinking about what I could do different here.
Do I want to come back and start a slightly different composition?
Do I want to make a few more alterations on this painting?
So those are the things I'll decide in the studio when I away from the
scene and I have a little bit fresh eyes to look at the painting.
Over the course of a few hours
I now see how the light works in this place and
I've got a more clear idea what I would want to do next time. And so
part of this process is going outside and discovering what's out there.
Okay, so I'm going to call it a day on this painting and pack
up and go home.
Transcription not available.
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28m 47s2. Sketching & Establishing a Value Plan
28m 58s3. Massing in the Sky & Grass
19m 4s4. Painting Middle-Ground Trees & Secondary Masses
23m 39s5. Simplifying Complex Information
28m 51s6. Painting the Leaves Against the Sky
25m 10s7. Redesigning the Pattern of Light
21m 19s8. Painting Shadows into the Middle-Ground
21m 1s9. Designing & Weaving the Trees
27m 42s10. Painting Branches, Leaves, & Skyholes
12m 8s11. Bringing More Warmth into the Foreground
12m 45s12. Refining the Main Elements
22m 19s13. Finishing Touches & Conclusion
6h 44m 39s15. Time Lapse Progression