- Lesson details
This scene overlooks a classic Italian countryside, complete with rolling fields and hills. The Painting starts off in a lower key and is brightened up on the 2nd day.
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.
Discuss this video in the forums!Discuss
Italy and I'm at another spot that I saw yesterday afternoon.
It's a very long view with lots of interesting shapes and lots of variety.
So last night I made a big canvas
and then - but when I arrived this morning,
the light was a little bit washed out so my plan now is to spend a
few hours drawing in a composition and placing everything and then I might come back in
the afternoon and start painting when the light is a little bit different.
I've got a pretty big canvas here.
And in order to take the whole canvas in I need a longer brush.
And what I did is I taped two brushes together.
And that will allow me to stand back and draw
and take in the whole composition at once.
So I'm just going to take my time
drawing in the composition and making sure that I have everything placed where I want it
before I start painting.
I thought about having a big sky with big cumulus clouds.
I want to make sure - I want to leave a lot of sky in the
composition. Even though right now there's nothing there,
I want to make sure I leave a lot of sky.
I also want to make sure that I get some of the houses,
add a little bit of the vineyard on this side, and the sweep of the road
going back and then back over the distant hill.
I think I might eliminate one of the trees here, this young oak tree.
It's kind of - it's blocking the composition.
But I'll see what happens.
I'll just going to take my time.
I'll mix up some sort of
some sort of mud color.
I've got turpentine. And if I wanted to paint this afternoon or even in a few hours
this would be probably pretty dry.
It's pretty warm out here.
I'm going to start by looking at the
big sweeps of the landscape This foreground hill,
there's a big general angle to it, a big sweep of that hill.
I'm going to think about how much, where the horizon’s going to be and how much
of that I want to include.
And again, I want to make sure that I have enough sky.
And I just want to establish some of the big angles right away.
Thinking of the placement of this road and placement of this tree.
I don't want to have it too centered.
So really all I'm doing right now
is I’m just placing things. And looking at big angles This road is a nice element too, a
nice compositional element to get into the painting.
And the the vines and the road combined make this idea of linear perspective that
also helps get into the background.
So I’m going to try to keep it open and just look for the big design.
I'll try not to this tree too central.
So that's off center, which is good.
I’m gonna kind of imagine a few clouds
back here. That's hard to see right now,
but there are lots of layers of mountains in the back that are a little bit
easier to see in the afternoon
and they create a sort of convex shape that I really like.
There’s a white road that wraps around this hill right here.
That’s actually one of the reasons I like the scene in the first place
is this white road in the back, how it seems to - it’s not in reality,
but it seems to be a continuation of this road in the foreground right here.
So this is the main compositional element is the sweep of this foreground road
into this tree, but then seeming to continue
over the hill in the back. So there's a lot of information out here,
but I want to try to pick out these elements that are going to help the
the big composition. And I'm just making
comparative measurements, I’m trying to establish the - one of these very important elements is this tree
and I want to just get the width to height placement of that.
Right now it looks pretty good.
So I'll just continue on and I can use that
to compare to other things in the painting if I want. I want to get the
sweep of this road and the idea that there are overlapping forms.
So some of this foreground grass starts to overlap the road a little bit in the
foreground. And this vineyard goes behind the tree. And this line of vines goes up and
over this hill and starts back down.
There’s a trunk in there somewhere.
There’s a little tree. Sometimes it helps to put a little bit of tone down.
I don't really want to look at shadows right now because I'll probably paint this in
a different light effect. And if I need to move something around I can just take
the other end of my brush and put some turpentine on it and sort of use
that as an eraser. I want make sure that this road looks like it's curving around,
going uphill. I'll make sure I get these vines at the right level.
Trying to look at some of the secondary forms here and how they overlap the road.
Just want to make sure that the foreground is interesting.
And I want to give myself enough information
about the form right now so that I can - when I paint it I can
understand what I'm looking at.
I think I might move this road over a tiny bit.
I don't know if I'm going to put this tree - there’s another tree here,
I don't know if I'll put that in.
Yeah, I might try it and see if it works.
I'll start getting myself some landmarks like this cypress.
I like the curve of this feels how the vines are all -
the Vines are showing the form of the field,
which is really nice. And it’s just more linear perspective.
I know there are more mountains back there.
It might have to include them later because I can't really see them right now, it’s
hazy. I want to get the idea of the structure of this tree too. So there
are few branches. It's kind of nice, you can see through the tree a little bit here.
And I can almost make out the trunk
here. I don't really want to look at the light and shadow right now because I'll
probably paint it in a different light effect.
But even if it was a different light affect,
it's an upright, big upright plane in the foreground and
I know it's going to be fairly dark.
So it’s okay, put a little bit of tone down there.
I think I've got this too curved right now.
So this tree - I just stood back and looked and the tree does look a little
bit central but I think that's actually off center.
So that's okay. I think if I do put this other tree in there,
it will balance it out a little bit more.
So I might put that tree in there for now.
I might decide later to take it out.
But I'm a little bit worried about this being too central right now.
So I'm going to keep going and then maybe slide that over a little bit,
maybe not. A secondary form. I think I just might slide this road over a tiny
tiny bit. I can pick out some of these - it will be nice to pick some of
these vines out eventually. Right now I just want to find
the main forms. And even though there's no clouds in the sky right now,
I want to start - because I do want to have clouds in the sky,
I want to start putting them in there.
So they'll be integrated into the composition a little bit more. Even if I change
that exact position later. I want to just start getting a sense that there's something interesting
up here so I can start thinking it of balancing the whole composition.
And I don't know exactly what kind of clouds I'll have.
I’m just doing more comparative measurement. I'm just trying to place this
other tree down here. Eventually,
I want to try to place some of this more intricate shapes like the houses.
But I'm kind of working up to them.
Getting the big things in place first.
Another tree down here, middle ground tree and it's a little Olive Grove.
in front of that tree. The full of olives here. I'm looking - there's a
house right there that I really want to get in, it’s going to be a nice spot
of color and it will also be a nice
idea that the road is going somewhere.
So it's mostly green landscape,
but so having these spots of red and orange are
really nice accents. And I’ll start to sort of trace around this tree line here
a bit, find some landmarks.
There’s a cypress tree and a house on the distant hill, I’ll use that is a
sort of landmark. And I can measure even to it.
In this case it's two trees wide or two trees distant.
Even though I measuring a lot, I can still move things around. I’m just measuring as a
kind of habit that I got into.
I just gives me confidence a little bit,
to paint more freely.
Some of the shapes, some of the - for example the placement of some key elements like
the houses, how the back mountain, the shape of the back mountain I want to really
get the specific shape of it, at least figure out which is the highest peak and
where about it is
roughly. And I might even exaggerated just a little bit.
Make it a little bit taller than it is.
And actually right now I can't even see the distant mountain.
So I'll do that later.
But I want to get this idea of
overlapping hills so the biggest
land mass is in the foreground.
So the foreground is the biggest, then the middle ground is to second, and then
another one and then another one, they should be diminishing in size, in general diminishing in size.
It gives the idea of going back.
I want to look anywhere
I can see overlapping forms.
I want to make sure I get that idea.
And I want to use all the the fields and vineyards and roads to help the idea
of linear perspective going back into space.
So all this stuff is at the drawing level
to help the illusion. There’s this idea that all these lines are converging.
So I’ve got - they’re all kind of
converging in general. Shouldn’t be so obvious.
If you do it right it shouldn’t be
very regular or very obvious but It's got to be there to make it work.
Some of those things need to be interpreted a little bit.
It's not so obvious when you're looking at the - when you’re looking at the scene.
So there's lots of things to select, this group of trees is not as
important for example as
the placement of this road,
which is just a tiny sliver of a road
But it's going to be an important elements so
I want to make sure I get that right and there's a little house here
and I want to make sure I have that placed
right. I can start to use a little bit of variation I don't - I basically still
drawing. I don't really want to go for any kind of
color, but I am varying
the mixture a little bit.
I'm keeping it a little bit bluer and lighter in the background.
Trying to keep everything transparent and just open to change. Trying to see what the tallest
peak is. So I definitely want - there's a tall peak over here,
but I want to make a difference between this one and this one. I want to make
this one bigger. At least eventually it should be a little bit taller.
And I might exaggerate that one a little tiny bit.
I’m gonna put this tree in and see if it works or not.
Getting more comparative measurement there. I think this tree might be too similar in height and
width visually to the other tree,
so I need to either change it or or just leave it out.
I'm going to stand back to see what it looks like.
I'm going to leave it out for now.
I don't think it's working.
It gives more of an open feeling without that tree there.
I might put it back in later some point,
but right now it's not working.
Which is good because I can then see a few more
details over here in this kind of patchwork
field over here. It's getting too dark here.
I need to kind of redraw this area.
So I just want to get rid of some of that paint.
Cuckoo bird. So this is kind of an important area of
focus in the painting
Trying to work out the placement of this.
Alright so I’m,, at this point,
I'm pretty close to maybe deciding what to do with the painting part of
it. Just want to finish a few -
putting in a few more landmarks and a few things here.
Try to find some of these trees in the middle ground.
And I’m king these - these lines are kind of little bit overdone,
but it's not a very delicate drawing but it's better to have a little bit of
strength in the drawing at the beginning.
And then you can kind of lose it
as the painting goes on.
But I'd rather find very strongly where this stuff is right at the beginning.
washes to get the painting going so I can have something to paint on later.
But I think I've got the main - the main competition is there. I'll eliminate this tree
and come back in a few hours when the light is little bit - has come around
a little bit and will be a slightly more flat light effect.
Which will actually, that flat light will make the white road really stick out against the
darker, slightly darker sky,
Which is the nice thing that I liked about it
when I saw it yesterday. So I'm going to just put up a few things down for
some color. Not really trying to go for the actual color that it's going to be
later on but just to cover up a little bit of the white of the canvas
and maybe adjust some of these lines that I made.
And I’ll do kind of a washy - wash on this, just a turpentine wash.
And I could just reinforce the drawing a little bit too at this stage.
It's not something I do all the time,
but it is nice to have something down to paint on top of.
It'll help me see the composition a little bit better to just have something there.
This looks a bit like a mess but
it'll be nice to paint on top of later.
And I’m putting kind of a lot of yellows and oranges down just because it will help
give the painting a little bit of warmth later when I put down the blues and
green. So it looks like a bit of a mess right now,
but I've got the composition down.
And I just threw some washes on there,
so that later on when I start really going for the effect
I don't have to fill in all the gaps to get to the effect.
It is nice to start on a white canvas,
especially if you're going to spend time on a painting because you have a lot
of a luminosity at that point. There's a lot of - the white will come through the pigments
and you'll have a nice glow to the paint.
But it's also nice to have something to paint on top of and to have some
other colors coming through so I did kind of a
halfway in between. So I think I'm set up to come back in the afternoon.
Hopefully there’ll be some clouds
and I’ll let this dry, it should dry fairly quickly.
It's pretty warm out here,
and I'm just using turpentine at this stage.
So I'll go take a break
and then come back and really start painting.
All right. I'm back here at the same spot as I was this morning.
The under painting or drawing is dry now.
It's completely dry after a few hours in the sun.
And the conditions aren't exactly what I thought they would be or what I'd hoped for.
But I'm going to go ahead and lay the painting in anyway.
And I'm going to just try to get the big pieces relating in terms of color and
value and try to get the whole thing covered
and keep it a little bit open to come back when the conditions
are more how I want them.
So it still would be nice to have a day where there are more clouds.
It's a little bit hazy today,
which is not what I wanted,
but I'm going to go ahead and get the painting started anyway
and come back and work on it a second time when the conditions are right.
And I'm just going to jump around a bit.
I'll probably start with the - actually,
I don't know where I'm starting.
I might start here and establish this shadow
that’s being cast across the road in that direction now.
And I'll just want to get all the big masses going and working.
It’s not really important where I start actually. But I think I will start here because this
is a new element, this shadow going across the road.
I didn't make any notations of shadow this morning.
So maybe I'll get this going.
I've got - the sunlight is on the canvas right now,
which is not ideal, but I think I'll just work with it.
To make it out of the - to make the canvas in the shadow right now
I'd have to turn almost a hundred eighty degrees and I don't want to do that
right now. So I'll just see how how this goes.
And hopefully if I'm judging my colors based on the palette and not off of how
they look next to nature so much, then I'll be alright.
And I'm just establishing this
shadow of this tree and it'll be one of the darker things in the painting,
really. The thing that's nice right now about the light effect is the white road
is clearly the lightest thing in the scene,
which is nice. So I need to make sure what I put in the sky
I've got the sky dark enough to make this white road, this white road
really stick out, which is the whole reason I really like the scene.
I’m just kind of redrawing this a little tiny bit.
And getting the shadow, finding a shadow.
I don’t want to spend too much time on this tree, I want to get the whole painting
going. I might come back and lighten this up later, this shadow.
Well, that gives me a lot of room now to - this is one of the darkest
things in this painting, it gives me a lot of room to go lighter.
And I've still got room to go darker if I want to. If you look at
the palette, I can go quite a bit darker than what I have, which is
nice. To have some reserve.
I don't want to go as dark as I can.
I'm going to start maybe mixing up a sky color.
A very kind of warm blue gray. And I want to save enough room for the
for the road, save enough value room.
So I want to make the sky dark enough so the road really pops out, light enough
so it still looks like a sky full of light but… And in some places I'll
scrub things and in some places I’ll
use more opaque paint. It’s very grey, the sky. And in some cases I’ll paint the mountains back into
the sky because they're so close in color and value.
So in some cases it's easier just to paint the mountain back into the sky and
maybe even on a different session.
I might not even do it today.
A couple of nice clouds there now,
I might put those in. And there's not much of a value gradation right now as
you would see on a clear day, you would see a lot more of a color and value gradation in the
sky. Right now there's not much going on.
It’s so hazy. A little bit of that green got mixed in.
So I think that will be dark enough to make the road really pop out.
I might just try to get that cloud in there
right now. There’s almost no contrast between the cloud and the sky right now.
It's just so hazy. I might just put some of that road in there so I
can start judging things off of the road.
Kind of distant mountains which is almost the same,
nearly the same color as the sky.
Just kinda fades into the sky there.
See if I can make out another few peaks back there
but I might go - I might paint this up into the sky and then
paint the sky back down into it to find the edge nicely.
I’ll kind of lose that edge for now.
They're so close together I don't really want to
define that edge right now. Let’s put this right in the sky for now.
ground slanted plane. And I'm pretty sure that especially when the sun is shining and a
bit brighter that this foreground flatline plane will actually be lighter than that background or
middle ground slanted plane. So I'm going to keep that in mind.
And I might just start throwing down something for the foreground.
And looking at how much contrast there is between the road and the
So that's what I'm trying to judge right now.
I'll just kind of scrub in a general tone and I'll paint back into this.
I'll go for some of these middle-ground trees.
And I’ll go for some of the middle ground and make it -
try to make it slightly darker in the foreground and slightly
less yellow. I don’t want to make it too dark how, I’ll lose my light affect but I
think it's probably important right now to just make a big difference between this and this.
Just get some of the general colors going up here. And hopefully the color that I'm putting here's a lot
greater than the one I'm putting down here.
I think it is, you can see that.
And slightly darker as well.
This field is a little bit more orangey.
And I think I'll paint all trees back into it later on.
I'll just get myself something dark enough that the vineyards won’t stick out against it.
And I’m just varying the colors a little bit as I go, as I see them.
But I'm trying to keep all of this,
these middle groundtrees roughly in the same family.
I'm not really separating light and shadow right now,
I’m just getting the general tone.
And also I'm not painting anything solidly because I want to have a chance to come back
and alter the color a little bit.
This is an area of Interest right here.
I just want to make a lot of - eventually
I'll have a lot of intricate shapes going on here.
I think I’ve got to move this house up a tiny bit.
I’ve got to paint this tree
that's a little bit closer to us.
I’ve got to paint that with a little bit more
slightly different color, something a little bit more yellow.
Probably I'll get more variety in that tree.
It's closer to us. I’m gonna get some of these fields back here going.
Maybe I need to mix up something for the olive trees.
Because there’s quite a few of them.
Okay I’m starting to get the thing covered.
I think it looks a little bit dark,
which is okay. On the next pass
I'm going to have to lighten things up.
Okay it looks very dark. And I think it's probably
because the canvas is in the sun.
I think I've - I was aware of it and now I forgot about it as I
was mixing and it's just a little bit too dark everywhere.
That's okay. I can lighten it up later.
Yeah I think I'm just made everything a little bit too dark.
That's okay. I can fix that by just adding
either now little bit or just on the next session I can lighten things up,
but that's okay. I might add just a little bit of light
now so this thing doesn't look so dark.
Just lighten up this whole field.
Okay, that's a bit better.
I'll come back and paint some green into that.
Some of the vineyards got in there.
And I want to have a lot of variety here because it’s in the foreground so I might
leave it kind of rough for now.
And I’m gonna come back here on this ground plane and just lighten that up
a little bit, too. It just got a little bit too dark.
Start getting this field going here.
Just scrub some of this stuff in just to
get it started.
Because I think I've keyed it too dark.
I'll just continue to you do these - the masses in.
Just cover up this distracting white.
Okay so at this point
I've got just about everything covered and it's all a little bit too dark.
I know that. Hopefully I can use that to my advantage next time
by using this as a base for a some darker colors and textures.
I think I'll do a little bit more today.
Just wrap everything up. Even though everything's a bit dark
I still have a sort of unified effect,
and I still have the colors going back in aerial perspective and the values placed pretty
good. I'm just going to have to adjust everything just a tiny bit the next time.
And like I said, it's okay that could end up being beneficial depending on how it
goes. I also want to have more clouds next time so I didn't really do much
with the with the sky.
I just got a base color in there.
And left a lot of gaps and some of that yellow showing through because I want
to retain that feeling of kind of a warm.
I want the sky to be a warm -
I want it to be really cold grey
and I want warmth coming through everything because that's how I see the landscape out
here. There's - if you look at the the grass there’s
kind of orangey soil coming through and if you look at the sky you could there's
a sense that there's a kind of yellow mixed in vibrating with the blues.
I want to keep that idea.
I’m just going to try to wrap this up so I can - so I can get it ready
for for next time, next session.
I think I've made the road a little bit too narrow on the foreground as well.
Put in this road so I can start judging things against that too.
I might just lighten up this cloud too.
I'm just gonna lighten up some of these back hills
and then call it a day.
All right, so I've got it pretty much covered.
Not the best start in the world.
But that's okay because it's not really the conditions I wanted anyway.
I think next time I'm going to have to turn my canvas away from the sun
because that was giving me a lot of trouble
judging the values. So when I looked at the canvas in the shade,
everything looked a little bit too dark and that's something I have to do the next
time is key everything back up.
But that could be - that could end up making for a nice effects.
So I'm just going to leave it here today and come back when the conditions are
a little bit more how I want them.
The conditions are a little bit more what I wanted.
So that's good. I've got my canvas positioned in the shadow this time.
Last time I thought I could get away with having it in the sun and I
ended up keying everything a little bit too dark.
And it just was very difficult to see the colors and values with the canvas in
the sun. So now I've got it set up in the shade.
I also noticed when I went back to the studio the other day,
I noticed that this hill seemed a little bit too low
and these lines are a little bit too parallel.
And looking at the scene now
I think I'll be able to bring the hill up a bit,
which will be nicer for the composition.
I'll be able to bring this field up a tiny bit, the house up a tiny
bit and I want to get rid of these parallel lines here.
So the first thing I'm going to do is just adjust the composition of tiny bit
make a few notations here, move the hill up.
Then I'm going to jump into the painting.
I took a look at the scene.
I want a key up everything in the lights a little bit.
I want to key the value up, make everything a little bit lighter.
Some things just a tiny bit lighter and I want to make everything a bit more
yellow including the sky. I'm also going to start throwing some clouds in the sky because
as they come I'll all use what's there.
So if I see a cloud that I really want to include I'll probably just jump
into the sky and start painting the clouds.
But the first thing is that hill, just bringing that up.
So I'm just going to do that for a few minutes and then start painting.
And I’m just going to do a little bit more drawing.
And basically, I want to make this hill.
Right now this hill is a little bit higher than this one.
And I actually want the opposite, I want this hill to be a little bit higher
than this one. So I'm just going to make a few drawing notations.
A few lines. I’m just going to bring everything on this side down a tiny bit.
And I'll be able to key up all this stuff quite a bit.
And I'll be able to cover up these lines.
But just now as a guide,
I want to have some solid lines in there.
I just want to bring all the stuff down a tiny bit.
And on this side I want to bring.\ -
I want to bring this field
up a little bit. I think this is more or less the vineyard right here, everything
below that. And I want to bring up this olive grove a little bit more up
here. And I also want to bring the house up a tiny bit.
I want to get this thing -
I want to look at this angle again and bring this hill
up, bring the hill up.
So I’ve kind of straightened this line out and now I've got these two lines are
not so parallel. They're going at slightly different angles,
which is what I need to keep the interest.
And I'll bring some of these olive trees up a little bit.
I’ll bring this tree up a tiny bit, everything's kind of coming up here.
There’s a a row of trees back here,
bring that up a bit.
I might have to bring it up even more.
Yeah, I'll just bring it up a tiny bit more the whole hill,
this whole field. Just wanna bring that up a bit.
And some of the olive trees back here as well.
And I will push this Cypress up a tiny bit too and I'll push the mountain
up a little bit as well even though that's way in the background now.
And that's another Cypress. Here in a little house up here.
And another Cypress. And I'm going to bring this, everything here down, this house down a
tiny bit. So I’m just kind of redrawing a little bit.
Repositioning. There was a feeling that everything was falling off - falling off of the side of
canvas. I want to make sure that doesn't happen.
So there's a few months back here.
I just want to have enough over here
so doesn't feel have that feeling of falling off.
Okay. This field I can bring up a tiny bit as well.
These two houses have to come
way down. So I’m just making a few notations for myself
so when I start painting I can change those things.
happiness, basically just redrawing. And actually,
I want to just take another look at this tree,
I think the lights of this tree need to be keep way up.
I'm just want to take another look at the shape.
Wanna make sure I bring this down far enough.
Okay. I think that's going to help a lot the composition it just felt like everything
was falling off. Bring this roof line down a tiny bit too.
I'll bring this tower down a tiny bit.
All right. I think I'm ready to start painting and just
look at a few more things, drawing things.
Look for a slightly more
convex curve here and see this route as a series of convex curves.
Set all this stuff's got to be keyed up a lot,
which is great. I think if I do it right it'll actually
be a good thing that I
Keyed it so off the first time another history is going to come way up.
The tree line, this is forest.
I got. Okay, I'm gonna jump into this.
I’m gonna start making the - start by putting in a few clouds and keying in the sky
up a little bit, making it a slightly more yellow.
Just look one more time at this.
Okay I’m gonna jump into the sky and I'll probably just start making spots
of color everywhere. Colored notes. Because I'm trying to key the whole thing up.
I like these clouds right now.
It’s a very hazy day.
They're kind of a yellowy gray
and they almost blend right into the sky. So I want to key everything up
but I want to keep in mind that I want the road both here and here
to really pop off of the landscape.
And I want the road to be clearly
wider than the sky. Mixing a bit of orange. These first things are going to look
very orange because - or very yellow because I'm kind of - I want to make everything in
the painting a little bit more yellow.
Okay I’m gonna key
up the sky a little bit here.
It got a little bit more yellow.
I don’t want to go too light I just - mostly I just want to change the
color. Some of these mountains I don't even see today.
And I can maybe paint them back in later,
up the mountain as well.
And some of the under painting or the first attempt at the sky
I can just leave coming through and it will vibrate with the new color.
And so I’ve just barely
keyed that up, but I think it's already working better that color and that value.
So just changed it slightly.
If it is working, I don't want to paint it.
So there's no reason to
repaint the whole sky, I’m just painting the parts that aren't working currently.
And there is a slight gradation in sky today,
which is nice. It’s a little bit lighter and a little bit more yellow
at the bottom. I also don't want to spend too much time in the sky right
now. Just kind of warmed everything up a bit.
And I've got to paint this mountain a little bit.
Even though I can hardly see it
I'll lighten it up later.
So some of these mountains I’ll paint back into the sky, some of them
I want to find now and I adjust the value a little bit later.
Trying to leave some crisp edges in the background too, that's often where you find the
sharpest edge is in the background.
There’s often very little contrast
from say the mountain to the sky,
but there's often a very crisp line.
Or crisp edge I should say.
Okay, now that I've got this sky color and value keyed up a little bit,
I can probably jump to another part of the painting.
Just put a few more notations here.
I'll come back to the sky a little bit later.
This green part is just a little bit distracting.
I’m gonna cover that up.
Okay, that's a lot. I think the color is a lot nicer,
it's a lot warmer, it has more of a feeling of this hazy day.
But now I've got to jump down, star keying the rest of the painting.
And I want to start with this field, it’s just sticking out to me is the thing
I want to change first.
And I'm because I'm changing both of the color and value and the shape here
because I've moved this up a little bit.
So I want to get that going first.
And mix up a more yellowy orange color for the grass.
I want a little bit lighter than what I had down there.
I'll see what that looks like.
That's a little better. I'll kind of grey this out a tiny bit
so I have room to go
brighter as I come forward.
I don't want to use the brightest color in the middle ground
or the most saturated color.
And some of these olive trees I'll paint back into this field.
Some of them I’ll paint around right now,
but I just want to get this keyed up.
Okay, that's about how much I want a key up everything in foreground as well.
Yeah, I think I'll make a few notations
I\in the foreground grass just to see how much I want to key it up and
then I'm going to jump back to this middle field
which has the most to change right now.
So this has got to be a lot lighter
and a little bit more yellowy orange.
And I’m not gonna a fill everything in right now,
I just want to get get it started.
So some of this I’ll use the scrub again.
And I'll definitely come back and work into this.
I might start scrubbing some of this vineyard in.
It's just a different color green.
So almost the same value, it’s just a different color.
I just want to key that up so get that going.
And I still have a lot of room to go more intense with any of these colors.
I don't think I want to use pure
cadmium yellow or any kind of pure mixture. I want to have the sense that
if I wanted to I could go lighter or brighter.
I should say more intense. I’ll put a few of those notes over here,
too. I'm basically at the same stage
I was last time I'm just still key in the panting and I'm just reheating it.
I'm still working on the key of the painting.
I'm still relating all the big masses and that's the most important thing right now.
Okay it’s looking sunnier in the foreground
A little bit.
middle ground field. It should just be slightly darker than the foreground.
And I might take another look at this color.
So it’s quite a bit darker than the foreground actually.
Just noticing this back hill.
So just for comparison, I'll put a spot next to
there you could see how much darker I’m making the background than the foreground.
And that's mainly due to the angle.
So the background Hill is facing
away from the sun a little bit more than the foreground right now.
Foreground is almost a flat line plane and the sun is very much overhead right now.
So it's going to hit the flat line plane more directly than the slanted plane.
So these are slanted planes back here and they’re being hit less directly by the sun,
making them slightly darker than the foreground.
Some yellowy light things here in the ground, just want to put a few more
notes here to start covering this up the dark
under painting. I just want to start covering that up it’s just a bit distracting having
it so dark there. Okay the back hill is looking a little bit better.
I'm going to pick an area here and I need to start connecting the
back mountain to the middle ground.
however, little bit of green so the scene looks intense,
but it's actually very gray
compared to the green that I have in the foreground.
And I'm just going to continue to key up some of these middle-ground hills.
These trees will have to be keyed up as well.
And some of these olive trees I'll paint back into the hill, some of them I’ll
leave spots for. So I'm thinking about aerial perspective a lot here,
especially in terms of color. So everything I’m putting in this background or middle ground
hill is not going to be as intense of a color as the foreground colors.
Everything’s slightly greyed down. And some places I'm dragging the brush across
and leaving some of the under painting.
It’s a really delicate balance getting this value
against the sky. The sky is slightly lighter.
Just slightly lighter than this
the mass of this hill here and some of this sky holes. I'll try to make
the tree look a little bit transparent.
I want to paint these,
paint the field behind the tree. Okay.
It's getting a little bit better.
I think I need to put a few
spots of color on the houses. I don't need to do them all but I'd like
to have something. I want them to stick out against the landscape too. I’ll make this
road a little bit more yellowy orange as well.
This house I need to bring down.
And I'll just put a few spots of color there
for now. There’s a nice
house that's just out of view over here.
Really nice roof illuminated. Some of this stuff
I can't really see without moving.
Okay, so I haven't hit the tree at all, the main tree.
I haven't hit the road.
I think I need to do something on those things.
I still want to get back up to this connection part
where the back mountain connect to the middle ground hill.
But I think I need to get something down for the road right now and see
if I can key that up as well.
And I want this to be the lightest thing in the painting.
I might not go to pure white because that would look a little bit brutal.
I want to sort of warm white.
And some color variety as well.
But I do have a lot of room to key that up.
There is a shadow that’s starting to creep into the foreground and it would be - I’m
thinking it would be nice to have some part of that shadow
there in the foreground. And I might put that in there.
A few more of these small clouds.
And now that I've keyed everything else up and made everything else
a little bit more yellow I can look at the sky and I think I can
make those clouds even a tiny bit more yellow so I might do that.
I've got to get this tree
going as well. I might wait on the shadow, the shadow will continue to creep
into the painting and I think I might use that. So I might paint that in
in 20 minutes or so when it's little bit further into the painting.
The things I need to do now are get the tree the main tree going.
It's just too dark in general.
And start connecting the background and the middle ground.
These trees have to be keyed up as well.
I might work on this mountain a tiny bit.
I've got some things back here that are kind of
too warm or brown and they're kind of distracting right now.
I also want to cover up some of the hill that I moved
down and some of the houses that I moved down.
It's kind of a funny color this one it's a gray that's not very
blue. Actually it's a more of a gray. It starts to - the back mountain starts to
take on the color of the sky a little bit.
So they don't become so blue,
they actually start to go yellow again and take on the sky color.
Some of these trees I’m going to have to come back and paint.
Move that house down again.
I might move the whole mountain down.
And over here, I need to move some of these mountains up.
There is another mountain back here.
I can barely make it out.
I'm not going to paint it in right now.
I want to take some of that hazy sky color and bring it into this mountain
a tiny bit. So now that back mountain is almost the same value as the sky.
I'm going to work in the sky for just a second here.
And I’ll make a little bit more of the gradation from top to bottom. I think
I can introduce more blue up here.
I like the color I have at the bottom of sky,
But I need to make the top of the sky a little bit more blue.
I need a clean mixing area.
Okay, that's just a little bit more blue than what I have down.
And I think it's going to help
give a little bit of interest to the sky. I’m gonna vary the value. I'm
going to start darker at the top and worked out to a lighter value at the
bottom. And I want to kind of weave this into the color that I've
already got down there. I don’t want to blend too much,
it'll kill the vibration, it will kill those painting,
but I want to weave those colors together.
So I now have two color
gradating into each other in the sky.
I'll probably have a third one
at the top I'll be that slightly more violent and slightly darker than what I have
already and I'm going to mix that up right now.
I'm actually going to use some red in the sky,
some yellow. That's more of a violety gray the top of the sky.
Just slightly darker. If you do this right
you shouldn't even notice - the viewer shouldn’t even notice
the sky gradation. I think a common mistake is to have too much sky gradation.
Too much contrast in the sky is a common mistake.
Especially on a day like today.
I might leave it there for a minute because that's less distracting
now and I'll move on to the next thing and I've got to get back to
that tree and to the middle ground hill, that the parts I still need to key
up. I might key up these olive trees a tiny bit right now.
The tops of them especially.
I'm just hitting the top planes of them right now.
They’re really light. And some of that top plane all of us over here as well.
It's almost the same thing.
of painting. I haven't touched it yet.
I just want to key this up I'm not even - I'm just thinking about the mass
as a flat thing right now.
I just want to key that up,
it’s really bothering me. I still haven't hit that tree.
And what's really getting me right now
is these middle-ground oaks that also need to be keyed up a bit.
I think I might hit those really quick.
A few cloud shadows going over right now.
I'm just going to wait.
Okay, keying up the middle ground trees.
I just want to get something a little bit lighter here.
Especially here where it contrasts with the shadow of the main tree.
I'm looking at that edge.
And some of the shadows of these trees,
I'll paint back into them
later. That's almost a flat light effect right now.
Okay that helped a bit, keying those up.
So what I'm trying to do,
I really want to get to this tree,
this main tree, and part of a lot of painting that main tree is actually not
painting the tree. What I'm doing is I'm getting the sky relating to it,
I'm getting the trees in the middle grounds relating to this shadow.
I'm painting everything, I'm painting the field through the tree.
So hopefully when I start painting the tree
it will then relate to all these other things.
Snd I think if I would have done this first it would have been - I think
it would have been more difficult because I've - even though it's the focus of the
painting it's kind of sitting in this.
It's sitting in the landscape.
And so I had to change the whole landscape and I will make the tree sit
in that landscape. I'm going to just key up some of the other middle ground trees
a little bit. Some of the trees on this side.
And here it's - the color and the value are very similar,
the middle ground to the foreground. Just a tiny tiny bit of aerial perspective.
Meaning a color drop and then the shadows becoming a lot lighter
as they go back into space.
So here I am concentrated on mostly getting a color,
a more greyed out version of the green that I'm going to have for the foreground
tree. There's more middle-ground trees that need to be keyed up over here.
This whole forest needs to be keyed up a bit.
Not that important right now.
But I'll key it up just a little bit, just very quickly.
Just so it's not distracting.
Okay. I think it might be time to get this.
If I am going to put the shadow in the foreground,
I think it's time to get that in there before it grows too much.
The light is changing quite a bit now.
I want to lighten up this shadow too, it's just there's more -
there's a lot of ambient light out here,
especially on this. very hazy day. And that just means that the shadows are going to
be really light and actually not as blue as a clear sky day.
So on those days -
on the days that you have almost no particles in the atmosphere and just a clear
blue sky, you're going to have very dark shadows and they're going to be very blue.
On a day like today
it's just kind of warm,
warmish grey blue sky and that’s what’s illuminating this shadow right here.
And so I would expect to have a more of a grey warm
shadow color. And that's what's going to be cutting across the foreground too.
Here I might be able to have a little bit more color, a little bit more warmth
to bring it forward. It’ll be more orange and yellow.
And these cast shadows always
follow the form that they're cast upon. So I can kind of describe the form of
the road a little bit by the form of that cast shadow or that shape
of the cast shadow I should say.
And having a few darker spots in this corner.
Actually, I think it will help the composition on a little bit.
They’re looking a little bit empty.
I'll mix up a shadow color for the grass there.
And maybe I'll include one of this - I guess it's a small oak tree
that's in shadow. And I might find a form of that,
the shape of this thing.
I'll probably have to paint that next time
but just to get an idea of how it's going to work compositionally.
I want to get something darker in there.
And I want to make sure that that shadow continues on this side and up a
little bit. Maybe even up
onto the grass here like it is now.
Maybe even up here. I'm just going to stand back and look at that decision.
So I think that's the right decision.
I might modify it a little bit next time.
Have some darker accents in there a little bit,
but I just wanted to get that idea of that shadow going right now.
And it's kind of like going back to the compositional stage a little bit.
I want to lighten up some of these shadows.
Just looking too dark.
And the light effect is fading a little bit right now.
So if it doesn't come back,
I might have to call it a day.
This whole area’s looking a little bit empty.
I want to get more variety in there.
I'll put some sort of orangy
greens and start suggesting some of the vines. The shadow - this foreground
shadow is really growing rapidly now.
And I've got to make a decision.
I think I'll leave it where it is.
Although I might extend it.
I think I'm going to extend it all the way over here, just makes a little
bit more sense. And I'll be able to look at that again.
I don't want to define it too clearly right now.
I want to be able to look at it next time with fresh eyes.
I want to start keying and put a few notes down here because this will all be keyed up
eventually. So just a few notes to know that I will keep that up.
And I think I need a few notes on the main tree.
Although the light is really going now.
I want to get something a little bit more yellow and light on this tree before I pack up.
This tree as well as going to be keyed up quite a bit.
I need to get this a little bit more orange and yellow, little bit lighter.
Not sure how much to do on this right now.
The light is really different.
But I think if - I think I might stop now and I'll have these notes
to look at it when I'm back in the studio and see if that's more or
less what I want or if I've gone to light
there, not light enough. So I think I'm going to pack up for the
day. The light's not going to come back.
There's some clouds moving in
and it's kind of getting to the end of the session now anyway,
The light effect has changed a lot.
So I think I'm in a good place for the next session.
I've keyed everything up. I've corrected the composition a little bit.
I've added another compositional element.
There are a couple things, I’ve added this foreground shadow,
which I'm still not sure about. I might look at it in the studio and see
if it makes sense or not.
I'm pretty happy with the clouds there.
They appear kind of random and diminishing in size in general.
A lot of things to work on still but it's at a stage where it's -
the composition is coming around and the general key of the paint - the general key of
the painting is coming around. I didn't get any time to work on this tree.
That's probably something I'll start with next time.
we have sun, a few clouds. Just like I wanted.
And the painting is set up to, I think, bring it to a near completion today
if everything goes well. Yesterday I added this shadow in the foreground and I was not
sure about it. But after taking it back to the studio and looking at it,
I think it's a good idea.
I'm going to leave that and I'll continue to develop that shadow later on in the
session when that shadow comes across the road.
The things I need to work on today are I need to get back to this
tree at some point, which I didn't really get to yesterday.
I want to finish the house and put a little bit more detail in the house.
I want to add a lot of interest to the vineyard right here.
This whole area is a kind of a - it's a little bit empty.
It feels a little bit empty.
So I want to get some variety in the vines, in the rows of
vines right here. Also with this vineyard here. Besides that I would like to get rid
of some of these lines that I made yesterday when I moved the hill down a
bit. But it’s, in general,
it's in a good place.
It's keyed right now,
and I'm pretty happy with the composition.
It's just bringing this tree around, adding some variety here,
finishing the middle ground a little bit,
and that's what what I want to do
today is just finished those things.
I might, if I have time, I'll jump back up here and maybe finish the
sky, maybe add another cloud or two.
I wouldn't mind putting in a few more smaller clouds
in the far distance. I think I'll keep this, the top of the sky, empty though.
I like that. Okay, so I'm going to get into it and start painting.
One thing that I'm noticing today is it's even hazier than it was yesterday.
So some of the mountains that I could faintly see yesterday.
I can't see at all today and some of the mountains that I painted yesterday are
also disappearing. I'm not going to chase that affect around, I'm happy with the the way
it went yesterday. So I'm not gonna change anything there.
So I'll leave these mountains the way they are.
I just need to work on this connection from the distant mountain to the middle ground.
So some of the colors that I set up yesterday
I'll continue to use. I don't want to chase defect around too much.
And then in some cases if it's better today, if I like it better today,
I'll use that. So I’m gonna suggest a few leaves and shadows in this vineyard. And a few
dark accents will hopefully pull this forward.
So less and less accent as I go back into space.
Less contrast as I go back into space.
And I'll reserve dark accents for the immediate foreground.
So theoretically this also make sense to have
this side of this sort of wall darker than the ground plane.
So I'm keeping that in mind too, the planes.
So the flat line plane usually being the lightest.
And that applies here. I want to get some accents going.
A few shadow accents. And then as this row goes back into space, less and less accents
or fewer accents. So this is a perfect
example of aerial perspective just in that short distance.
And I might add a little variety down to this vineyard too.
A few orange and red
accents in here as well that
are kind of nice to pull the foreground
forward. I think I’ll eventually get some gray violet accents in the foreground to break
it up a bit. I think I could key this up even further than I had
yesterday and also introduce a little bit of color variety there.
I think I'll introduce more yellows.
There's lots of little yellow flowers.
And I think this can just be keyed up even more.
Which just means I'm just raising the value lighter, making it lighter.
And some color variety. There's some blue or greens in here.
Some more yellowy greens and some more blue greens.
Some greys and then less and less variety as it goes back in space.
I think I’ll make this field a little bit more orangey yellow to distinguish it from
the vines. Here as well, I think I can key this up even more.
I can add lots of yellows in here.
Okay I’m just looking in the mirror to see what I need to work on.
And two things really stick out.
One is this - is the lines I made yesterday that were the correction lines.
I need to - those are really sticking out when I look in the mirror and also
this area, which is a sort of secondary center of Interest.
I think I need to do a lot of clarification in that area.
So I want to work on this house.
This house, this house, and clarify some of these trees.
And some of the cypress tree is poking up here.
So I know I need to get to those things, I’m just seeing a few other
things here that I can get to.
I think I could push the value here a little bit higher.
Okay I want to start painting the house a bit.
And I changed it, the position
of that yesterday. I think I'm going to work on the olive grove here
as well. So this roof is a little bit more gray.
I don't need to paint every detail.
I just need to suggest the main
pieces. And I think I could probably repaint these cyprus's right now.
And repaint the field around the house a little bit.
And the cypresses could be a keyed up as well.
I think this is the original drawing here.
And I don't need to paint every cypress either, I could get a few of them
and look for places where I can group them together.
I can't say for sure but it looks like there's another building behind this tree.
And I can see a few rooftops sticking through there.
I might suggest a few of those.
Okay. There's a spot of red there as well, another building hidden in the trees.
And that will create interest, that spot of color.
it will create interest. So I'm taking my time here with these intricate shapes because I
think it's one of the main areas of interest in the painting, there's a sense
that the road leads you into this middle ground.
And I need to just resolve that area bit.
There’s a lot of nice shapes there.
Some of these areas like this that I just scrubbed in yesterday,
they can - I'm happy leaving them like that for now.
They don't need to be that interesting.
So basically I'm being selective about
about where to paint detail.
I'm just going to paint that
field behind the houses and just carve out that shape of the house a little bit more.
Also a small intricate shape in the background - one or two
small intricate shapes in the background will give a sense of scale
to the background. So in the foreground I can get away with having - the foreground and middle-ground
I can have this kind of softer jumble of leaves and things. But back here I
should have something, a shape that's more almost cut out and it’ll give a sense of
scale. It’ll give sense that that thing is small and in the background.
I don't need to do it everywhere.
I just need to do a few places.
It's sort of counterintuitive to most people
that you would have sharp edges in the background but it's a device that
does work with landscape painting
I don't want to get too caught up in this area,
but I do want to spend some time here.
There's always so many things to do in a painting and
if you spend too much time in one area you
start to lose sight of the whole painting.
Okay stand back and look at that.
Okay so I've got a few intricate shapes there now.
I need to work on some of those trees yet.
So I think some of these dark accents aren't helping me here.
I want to just have that cypress tree really stand out.
And I'm just painting the background around it a little bit.
I might have to come back and this - I think this is finished for now.
Some of these areas I might come back to them eventually,
but I'll just leave that for now.
I want to get down to the trees, I want to just move on.
I'm starting to get trapped in that area.
Okay, so move on to some of these trees.
I’m gonna move faster, there's a lot of things I want to do before
the session’s over so I got to start moving. Continue to key this up a bit, this
tree. I can pull that over the house a tiny bit.
And there’s another one behind it.
So the tree here. I'm just getting caught up in this area.
I need to move on.
Okay there’s another type of tree, there’s
[indistinct] they’re called.
Evergreen oaks that are kind of orangy green.
I want to get a few of those.
Just a little bit more variety in there too.
And I'm just on the side plane - or the top plane.
I'll do the side plans as well.
Just a little bit more of a shadowy side plane.
I might have to come back to this later.
Okay I’ve got to move on, I'm getting too caught up here.
I’m gonna jump down here to some of the olive trees.
Put the really light top planes.
So far I've just done the sort of top planes. I’m gonna
come back and do the side plans of these.
And I think there's a few more, there's a big one right here.
Maybe another one here. So I've got a lot of variety now going, a lot of
variety of greens. Especially in this area, the area of Interest. And I'll mix up the
side plane of those olive trees now.
That's just kind of a grey
actually. It's kind of a warm grey.
Getting a lot of reflected light from the field. Like I said,
there's a some middle ground
olive grove, and I might just put a few suggestions of cast shadow just to
tie them down a little bit.
Maybe like that. Just a few places. Okay,
and I think it's time to move on to the main tree finally.
Maybe I'll use that same olive color on the other side of the painting
first. More olive trees here, that sort of warm gray
everywhere. Has a warm gray tree here too. So I'm just putting the side planes of
smaller trees just suggesting an olive grove there. Okay.
And some of these gaps are becoming distracting.
So I'm just looking at the mirror and there’s a few gaps from the initial lay in,
for example, this one that are just really distracting.
So as I see those I will just fill those in as well.
I don't want to fill them in just to fill them in because they might
get filled in naturally just by the painting.
But when one is suggesting a sort of chimney right here,
I need to fill it in.
And a few areas I'm noticing that the initial dark lay in is kind of killing the effect.
And so I just will add a little bit of light to this area.
It's just looking like a bit of a shadow. Okay.
I might do one more accent on that house back there.
And okay, finally jump into the tree. Maybe.
I need a new mixing area.
It’s getting too muddy. Some of these lights are very light today because of the way the
wind is turning the leaves over.
The underside of the leave is lighter. So I’ve got to decide how light I'm going
to go here. So I know it's got to be - the tree has to be darker
than the ground plane. So I'm always keeping that in mind because it's a vertical plane
and I want to make sure that all the vertical planes are slightly darker than the
horizontal planes, so that's one thing I'm thinking about.
So it's not nearly as dark as any of this stuff.
Other than that I'm thinking of dividing it into light and shadow. Those are the two
big categories. So right now I'm just painting the lights and I'm leaving the shadow.
And I'm varying my mixture just a tiny bit,
but it's basically I will just have a light brush and eventually I’ll mix up a shadow
brush. There's some really nice areas in the painting where - for example this area -
there's almost no contrast between the big foreground tree and the middle ground. They almost blend into each
other. Whereas on this side of the tree,
there's a very marked contrast between the shadow and - the shadow of the
tree and the middle ground.
So I want to pick up on both of those ideas.
So I might even over play the contrast here.
And here I might really look to almost make it look like this is disappearing into
the middle ground. And I'll get some of these leaves out here.
I'll paint back into some of the stuff that I've painted today.
Into the house and middle-ground trees, into the sky as well.
And I know I'm sort of picking out a few highlights
or just lighter areas within the tree.
I want to see how much
variety I can get away with.
Okay, I’m gonna stand back now.
being too light in the the lights of this tree. But I'm going to leave it
for now. Got to figure out how dark I want to go on the shadow.
I think what I have down is pretty good.
I could go maybe a tiny bit lighter.
And again this is one of the hardest things to paint is a tree
against the background or sky.
So I'll probably - maybe I'll even do it now,
I'll mix up some of the sky color and start cutting into a what I put
down for the tree while it's wet.
And I might mix up some of that mountain color and cut into the tree as
well. Also losing a bit the idea of simplification now.
Almost getting too much detail in there.
Okay, I'm going to mix up
a little bit of the sky and I'm going to cut into the tree a bit.
And when I paint the sky holes I can
make the color a little bit darker.
Maybe I'll just paint a few things into the sky
and then I'll cut the sky back into it.
So now I'm adding a darker color too for somebody sky holes.
And I think that's not bad.
I think here it's feeling nice.
It's feeling like it's interacting with the background here as well.
On this side I need to work on little bit more.
I think I'll cut into the shadow
a little bit and be able to put a little bit more shadow down before I
cut into it. This is a funny
edge here. I'm not sure how to treat that.
Okay, I might have to mix up that mountain color a bit and cut in.
Cut in here a bit.
Mix up some darker
versions of that mountain for the sky holes. I’m gonna stand back and see if they
read. Okay. And I think it's starting to look transparent there.
It’s not bad. I might jump over here to the foreground now that the shadow is coming
across the the road. Coming across the foreground. I’m gonna
try to look at that.
These colors It’s almost a gray color here and there's a lots of variety here as well.
I'll try to get some of that.
But first I’ll get the mass.
The darkest accent in the painting might be here in this little corner.
It's in a shadow and it's in the foreground
so I think that is where the darkest accent is. It’s also probably the most
intense color as far as shadow.
And I'm not really going to go for the color right now,
but I want to get something down there.
Okay, I'm going to cut into this Edge a little bit. It looks a little bit - it’s not
interacting with the background very well.
This is a tiny bit distracting. I want to
finish the sky gradation. I want to cover up this brown line here.
It's just distracting right now.
Okay, so I'm going to wrap it up,
this session. I still have a lot to do on this painting.
But it's coming along. I've added a lot of detail and interest to the middle ground
and I worked a lot on the on this main tree,
especially the edges. I think in the next session I need to to
start unifying some areas because some areas are becoming
too broken. So there's too much contrast going on in certain areas and I'm losing a
little bit of sense of the big masses being separate.
And so some areas I'm going to have to unify at the end of the painting.
So, but that's what happens inevitably. You work on something a little bit and
it becomes too broken and you can then bring it back and unify it more.
And usually you want the beginning of the stage - the beginning stage of the painting to
be very unified and also the very end of the painting to be unified and things
will become a little bit broken along the way.
So the next time I'm at work on this I need to add more color here
and slightly more definition here. I could probably get rid of some of those brown lines
in the background. Although they’re
not that distracting right now.
This smaller tree I haven't worked on yet.
I could probably unify this a tiny bit more than I have it.
I think I could continue to key up the flat plane, the horizontal plane in
the foreground. I think I could just push it even higher in value.
I want to keep the interest here.
I want to keep these shapes intricate.
I think I could unify some of this information.
In the middle here, though.
I might get back to the sky and unify that a little bit as well.
But it's coming along I think with one or two more sessions
I could have a finished finished sketch.
So I'll leave it there for today and I'll see you at the next location.
Free to try
Watch the whole lesson with a subscription
28m 46s2. Sketching in the Composition
22m 13s3. Sketching in the Composition PT2
29m 17s4. Massing in the Tree & Sky
26m 9s5. Painting the Fields & Hills
27m 19s6. Covering the Canvas
31m 37s7. Keying up the Foreground
30m 36s8. Keying Up the Middle Ground
19m 31s9. Designing the Field
29m 27s10. Clarifying Important Elements of the Painting
30m 4s11. Designing the Tree
24m 27s12. Final Touches & Conclusion