- Lesson details
The star of this scene is an old Italian country house covered in a variety vines and plants of varying color. A break was taken to do studies of chickens, which were painted into the scene as an interesting foreground element.
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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I've lived in this house before and have friends in this house, have painted in
this immediate vicinity quite a bit for the past 10 years.
I've been painting, just walking outside the door and painting the landscape around this house.
So I'm very familiar here.
I've never actually done this view of the house. And I'm set up here,
it's a flat light situation
so the sun will be at my back.
So not a lot of shadows and the interesting thing about this right now is that
there's lots of variety in the greens and lots of interesting shapes in
the house where the ivy stops and the wall starts and so it's going to be
quite challenging to get all of the different elements working here.
Hopefully they'll be a cloud or two in the sky later on.
So I'm going to start again just by laying out a composition and take my time
with that and I've got a pretty big canvas here and I would like to spend
at least two days on this painting.
nondescript mud color to start laying out the composition.
And I'm thinking about all the things I want to include in the scene. I'm thinking
about the cropping and I'm looking for big angles and trying to figure out where
to place everything at this point.
I want to make sure I have a lot of space for the main part of
the house. I'm just doing some comparative measurements.
I'm looking for some big angles.
I want to make sure I get this cast shadow of the tree.
It's a really nice foreground element.
And I want to make sure I get some of these lemons.
I'm also - I’m seeing this house in perspective.
And this roof line is not horizontal.
It’s angled. These lines are going to a vanishing point
way over to the left somewhere
on the horizon. So I know that these - anything above my eye level has got to be
sloping down towards the horizon.
And I'm just - to place it
I'm also looking what is higher visually, the point of this,
the point of the house here or the tower. And I know physically the tower is
actually higher, but in this case,
it could be that the other side of the house is higher,
but actually it's not from from my point of view the tower is still a little bit
higher. Just barely. I'm looking at these points trying to line them up
horizontally and see where they fall.
And I think I've got them placed pretty good.
So I’m just going to continue laying out some
construction lines, some guidelines. I'm not thinking about anything except for composition and drawing.
And I'm using using my knowledge of perspective to help me see what's going on.
So I know for example that the corner of the roof here's got to be higher
from my point of view than the corner on the other side.
And I know that the corner of - I know that the corner of the roof here
is going to be higher from my perspective then this corner. Even though in reality they're
probably level. In the real world these are level points,
but for my perspective again,
there's a line passing through these two corners going down to the horizon line.
And the same thing here, I'm using two point perspective.
So there's a line going down to the horizon there.
So I want to give myself a few guidelines to get proportions and prospective laid out.
And it's kind of hard to see on this house because it's so covered
in ivy and all kinds of plants I don't know.
I'll start suggesting this tree in a minute.
Still taking comparative measurements. I'll try to figure out where that doorway is, where the arch is.
Somewhere here. It comes about halfway up from the ground to the roof line.
So I'm just placing things, this drawing stage, composition stage.
I want to know where the - I want to get some of these lemons coming out into the
foreground a little bit to make a - to fill some of the foreground. And when it helps
me I can suggest a little shadow or tone.
But I'm not going to start painting an actual color
until later on. I'm just trying to get myself set up to do painting later.
This cast shadow’s going to help fill the foreground a bit.
And I think it will continue to grow as the sun moves around.
There's also a shadow on the house from a tree
that's probably out of view.
It's a big broken cypress.
So just comparative to measurement still.
I'm looking - just at the bigger angles. Even though it's a little bit
confusing here because there's - this house is on a slight slope.
So it's sloping down this way.
And yet with perspective this angle goes up a little bit towards the horizon.
So starts going up where it’s level and then as the hill slopes down it'll actually change
angle right there, but these lines, this line and this line,
I know have to converge somewhere.
So I’m aware of that. I'm just trying to place some of these lemons.
Just kind of trying to figure out some of the proportional
things. I think I might be a little bit -
I think I might not be long enough.
I might be too tall and not long enough with the house right now.
So I just want to double-check that. I think I might need to extend this point
out a bit or either that or I need to bring this line up.
And I need to figure out which would be the best.
So I'm just doing height to width
measurements. And it’s pretty good, actually.
I can probably just bring this point out a tiny bit and then things will be
in proportion. I don't want to move this up too much because I don't want to
have too much empty foreground.
And moving that over actually will help me run this off the canvas
far enough where it will look strange.
So that's good. Just gonna move this stuff over a tiny bit.
Okay, so now I'll use part of that, this kind of skeleton that I have created to
start adding in some of the some of the vines or some of the ivy.
This is really just covered with it everywhere.
Now I can move the lemons over just a tiny bit.
I guess that's going to make more sense now.
Start suggesting this shadow. Any kind of landmark I can find
down here might help me later.
And there’s a cast shadow from the roof now
forming as the light rolls around play some of these windows as well.
So really I'm not trying to create a full finished drawing here.
I'm just trying to get myself
enough information to start painting. And the first thing is always composition, placement,
and I'm just thinking about that now, composition and placement. And I'm thinking I probably to
balance this out,
it probably would be nice to have a cloud or two up here eventually.
I'm just looking in the mirror and trying to imagine the balance of the composition.
It might be nice to have a cloud up there.
And I’ve just realized I've got to bring this down
a bit. This point is actually has to be lower on the canvas than this point.
So I'll bring this bring this down a bit.
And that should fix that.
I lowered the whole tower just a tiny bit.
I'm just moving things around a bit.
And I’ll move this door over a little bit and
I’ll move the arch over a little bit as well.
There’s a table here and some chairs, could be kind of interesting later.
And there's a big tree
that's coming out. So as soon as I get enough information for me
and I'm happy enough with the design
or composition then I can start putting on color and I'm starting on a white canvas
and I think what I'm going to do is put down some washes.
Basically a bunch of thin paint just to get a few things covered.
And then I can next time I come back to the painting,
I'll have everything more less covered.
And I can be more specific about the color at that point
and also have a little bit of texture and color to work on top of. And
I'm nearly at the point where I can start.
Just wanna place these lemons a little bit better.
But I think I've got them now so
I think I'm ready to - nearly ready to move on and start painting
mentally make a value map.
So I'm going to compare things
like what's lighter the sky or the ground or the sky or the white part
of the wall there? Is the green on the house lighter than the green on the
grass? I need to make a value map for myself.
And I think that I want to have the ground plane lighter than the sky and
that's kind of the nice part about this painting right now is it’s a
flat like effect so the sun is at my back and which makes the sky really
dark. So that's the nice part of scene so I want to make sure I get the
sky darker darker than the ground plane.
And the white - some of the white of the wall of the house will be nice
little accents. And that'll probably be the lightest part of the painting.
Okay so I'm going to start -
maybe I'll do a few more drawing notations here and but yeah. So
I'm going to start by just start mixing up a sky color that I think
it's dark enough. And start putting down kind of a washy color
just to get things covered a bit.
And I want to keep the sky
sort of warm, kind of - it’s another hazy day and those hazy days are not necessarily
very blue. They’re kind of a gray, almost a warm gray.
A warm gray blue really but I don't want to make it too bright blue because
I want the color of the painting to be down here in the house.
I want these lemons to really stand out as accents, as color accents.
I also want to just go for a general
color right now, and I don't want to decide on the exact color
or value, just want to get close.
I might be a bit too dark.
Actually now there are some thin clouds coming over
which I don’t really like. So I'm just using mostly just turpentine right now to keep everything kind of
thin. And to help spread the paint around thinly, I just - I've got pure turpentine right now,
which will help it dry faster and be a nice
surface to work on top of later on.
So the initial stage with the drawing I’ve actually started suggesting a lot of the shadows.
I might just do another quick wash for some of the shadows to get some of
the white of the canvas cover a little tiny bit more.
But not being specific about anything.
Just looking at general tone and general
idea that this is a shadow.
Get some of the shadows in here going.
And I'm trying to look for interesting patterns
and descriptive patterns. The whole side of the house here is kind of gone into shadow as
the sun moved around. Or nearly the side of the house.
I'm just going to redraw this tree a tiny bit.
No particular color in mind.
I just want to get a better idea where it is.
Start suggesting a few patches of light and shadow on that tree. I've got already picked
out one of the main trunks or branches right here.
That will be a nice landmark later on.
I can start suggesting some of these leaves as well.
Ciao. Okay, I'm going to start suggesting some of this ground plane and I
want to make it really warm and make sure that it's lighter in general in the
sky. That might be a little bit too yellowy,
but that's okay, too. So some things I’m being very specific about and some things I’m
just kind of laying in so I have something to work on top of next time.
I might make this a little bit more grey.
So I’m just trying to scrub,
kind of scrubbing some of this stuff in and washing it in just to
get some of the canvas covered.
And some of this stuff I'll probably end up leaving.
If I come back next time and this stuff is working
I won't touch it. And if it's not working then I'll paint on top of it.
Okay. I'm going to get a bit more turpentine.
Looks like these thin clouds are kind of
blocking the light a tiny bit, changing the light.
That's okay. The roof is really nice because it's got orange tiles and gray tiles
mixing together and kind of vibrating together. I’m just going to lay those in a bit.
It's a really nice accent where the sky
meets the house. It’s this some kind of red grey line.
I got to get some of the greens going.
The same thing with the greens.
I know that the ground plane
down here, it’s going to be lighter
then anything on the house or at least in general.
And I want to save some of the more intense greens for the lemon trees.
I think I've gone a little bit too dark already on the ground.
I want this to be really light but I can lighten it up next time too, I can
adjust all this stuff. I’ve got to get get some of the greens on the house going
because those are - that's the farthest thing behind right now is the house.
This is a little bit distracting.
I’ll just scrub in some sky. And it doesn't really bother me that I'm leaving gaps
because I don't want to decide on the exact color right now.
So the only greens that might be similar value to the ground are the really
light ones, there’s a patch of really light greens here.
And those might be similar.
The other ones are much darker.
And I can kind of destroy some of that skeleton that I made earlier, the drawing.
I was trying to sort of see through to the the structure of the house before.
And I’m just putting in general tone
but I kind of I'm already varying it a little bit.
For example, its much orange -
the vine is much oranger and yellower
in this area and gets a little bluer and greener the area.
I want to get some of that right away.
And while I'm putting this down,
I'm actually looking at the placement of the doorway
again and just a few
drawing things. So it's just another attempt at
the drawing, cleaning that up, deciding a little bit more specifically on certain things.
And I'm also trying to decide what do I want to
paint around and what do they want to paint over the top of.
So I'll paint around some of the bigger branches of this
foreground tree and then some of the leaves I'll paint back into the background house.
And I’ve got a little bit more freedom to do - to be a little bit more
open about what I'm doing here because I'll come back to this painting so anything I
want change or paint over the top of next time will be pretty easy.
It'll be dry. Start suggesting some of the color on the - on these terra-cotta
pots. Kind of losing the light effect now a little bit.
Start suggesting something more intense
greens of the lemons. Some of this white was getting a little bit distracting,
so I might leave a spot for a little cloud there.
That seems like an empty part of the composition.
So but I'll leave that open.
Hopefully next time there will be some actual clouds in sky.
I think I'm missing a little bit of the warm feeling that I wanted and
I think I’m gonna introduce a few more warm
colors just to get the painting set up
right. I want to get some more oranges going in here.
Definitely in here. And the light effect is fading a bit as these clouds come over
but I know when the light is out.
When the sun is out it’s going to put more reflected light into some of these shadows.
I just kind of create a feeling of warmth everywhere.
Especially down here in these terra-cotta pots, I want to have some color down there. I want
to make sure there's enough warmth here too.
There’s also a lot of reflected light in this shadow coming off of the roof here.
I just kind of want to warm up the whole painting a tiny bit.
Start thinking about some of the shadows.
going. It’s kind of a warm white.
That's a bit too much,
but it's okay too. I guess= when I stand back the painting just looks
a little bit too - just looks a little bit too grey in general and I'm just
trying to set it up to make it look a little bit sunnier.
And part of that is the color, a lot of it’s the values and how the values relate
to each other but some of it is the color.
I just want to go for an overall feeling of warm
yellowy kind of sun.
So I don't want to set up the - I don’t want to key the painting too grey.
That’s what I'm trying to say.
Which would be fine as well because I've got another shot at this next
time so just trying to open up the painting and get everything covered today and hopefully
I've already worked out the design
and hopefully now I'm kind of working out more or less the color scheme and the
and the values just in a big general way.
All right it’s feeling a bit warmer in general, feeling a bit sunnier. I'm just going to
continue covering everything. And I want to just make sure that I've got
something - I’ve got everything basically laid out but I’ve got something to paint on
top of next time, which is the important part.
I think I need to bring this up a bit. And I just want to find a few more details like maybe
placement of some of the windows and just sort of give myself a few more landmarks
for next time and when I do that after that point I think I can
call it a day and then let this dry.
And have a good place to start
the next time, have a good base.
Find the edge of the house over here.
I think I want to put in the color of the door and
some of the windows. I just want to place this window somewhere.
It's kind of hidden. Place some of these windows.
And maybe look at the drawing of this tower a little bit.
I think I have room to key everything up a little bit the next time which is
good. So this part starts to feel a little bit how I want it, sunny and
light enough. I think I'm going to have to key up the shadows here the next
time. And I'll probably key up to the ground a bit as well.
But I'm going to finish scrubbing that in,
sust so I have something to go on top of next time.
And I might finish scrubbing this in a bit.
Just to set myself up for next time.
The white coming through doesn't really bother me I can -
I don't want to go around and just fill in white gaps because those will probably
be filled in next time just without thinking about them.
I'm just going to take another look in the mirror and see what I
can do just to help me get set up for the next time.
I might draw the table and chairs just a tiny bit more.
But otherwise, I think I'm pretty set up to go at it next time.
I might maybe put a little bit of shadow in this cypress tree and then do
a few drawing marks on the table and chairs.
And then call it a day.
And I'm just spending - I'm pretty much done with the lay in stage.
I'm just spending a little bit of time cleaning a few things up and
just looking at placement of things.
I think I’ve got to move this over a tiny bit here,
and I think I'm going to move this window
a tiny bit over but that's okay too.
I can do that next time when I have
fresh eyes. I can adjust things a bit.
But the main idea is there.
I think the only thing is it'll be nice to have something down here and
this area of the composition is just a little bit empty.
And I might be able to get some chickens or something in there and get something
going down here. Because it's just feeling a tiny bit empty.
Be nice to have something there.
And I probably could get the chickens over here.
So I'll just pretend they're there right now and I'll maybe I can put some bread
out for the next time and get them to stand around for a minute.
Just to help the composition a bit
and get a little bit more color and interest in the foreground.
So I wanna make sure I get these flowers eventually.
But not today. So that's what I’ve got to do next time.
I got to get the chickens over here.
But I just kind of lay out a rough composition of where they would balance
out. All right. I think that's where I want to -
I think I'll leave it there today.
I've got - it’s a start of a painting. I’ve got the composition.
I started thinking about correcting some of the problem of balance.
This was looking a little bit too empty.
So I might get some chickens and the chickens are usually running around here.
And I might have to put another cloud or two up in the sky
but I'll look at that next time when I have fresh eyes and also look at
cleaning up some of the shapes and be more specific with the colors next
time but I've kind of left it open.
I’ve just got it started.
I've left it open so I can change things and I can be more specific next
time. So I'm not committed to anything really.
The only thing I'm really committed to you at this point is the general light effect
and the place - the big placement of the house.
So I'll leave it there,
let it dry, and come back when the weather is right.
few days ago. Now that I'm set up I'm just going to take a few minutes
to look at the painting with fresh eyes and come up with a strategy about what
I'm going to do today for this painting.
So I'm just looking at the the painting, the whole painting.
A few things I want to do today is I want to push the contrast between
the sky and the ground.
Making the sky lighter - sorry that the ground lighter than the sky.
I also want to just clarify a little bit the shadow
and the light and make sure I have enough contrast between the shadow and the light.
I want to continue to design
a little bit this area and make sure that this is not empty and it's balancing
the rest of the painting.
Hopefully I get a few clouds to help balance out the sky,
but for now, I think I really want to work on the contrast between the big
masses. So I'm going to look at the sky,
how that compares to the ground, how that compares to this big upright plane,
vertical plane at the house.
I want to get that distinction very clear to this vertical plane to the horizontal plane
here. And then I want to clarify the shadow and light a little bit more.
And if I see anything off with the proportions or drawing I'll work
that in as I go as well.
So I really want to get the sky keyed and I think there’s a good
place to look is not only the ground, which is very light, but this white patch
of wall here. So I said last time that's sort of the lightest things in the
painting. So as I'm painting the sky,
I'm going to also look here at this white patch of wall and the ground and
try to get these things relating.
I can't go to dark on the sky, if I go to dark on the sky I’ll run
out of - I'll run out of room here when I get to the the upright plane
that’s still in sunlight. So this has got to be still darker than the sky, the sky
has got to be a lot darker than the wall and the ground. So I'm trying
to get these things relating in the right way and pushing the contrast to to a
point where they feel right.
I think I'm just going to make a few marks.
I just want to find this -
just want to find this window again.
And edge of the roof I'll probably push the shadows a little bit darker just to
give - just to get myself more
value range. I'm just kind of redrawing a few things right now.
Okay, but before too long,
I'm going to start keying the painting a little bit better.
I just want to look at - what I'm doing now is I'm looking at the position
of this archway in relation to the roof here or the tower here,
and I'm seeing that they’re not lining upright.
I'll try to figure out at if I'm in the right spot here or not.
I think I'm just going to move this over tiny bit.
I’ll move this doorway over a tiny bit as well.
And I love this lemon up a little bit.
And this one as well.
So I’m just redrawing a few things here.
Now that I can see it with fresh eyes.
I'm just seeing a few things
I need to change. I wonder if somebody moved these around, these pots.
Kinda looks like it. That's weird,
but that's okay. I’ll just change them.
Just moving a few things around here.
So I'm just looking at the design and drawing proportions a little bit before I
start painting. Because I've - it's been a day or two since I started the painting.
I got fresh eyes now and I can see
a little bit more clearly the things I want to change and the things I
maybe got wrong last time.
Okay. So now I just looked at the drawing and a few things, a few placement of things and
I'm ready to start keying the painting now.
And I'm going to start by darkening the sky tiny bit.
And lightening up the wall.
I might do that first actually.
I think the wall is just a hair lighter than the ground.
Looks like I've got a lot of room there to lighten it up.
Which is good. So I’m making a more definite decision about this value now.
And I want to darken the sky a little bit
so that it really sticks out.
So I made a decision about the value of this wall.
So now I’m gonna darken the sky in relation to that.
I just want the right feeling of contrast between the sky and the wall.
And right now the sky just feels too light.
Ciao Mario. Okay, I think I'm going to jump into the shadow here and
start relating that to the wall and the sky.
So it’s a white wall in shadow, so it's fairly light but it still has to be enough contrast
between the sunlight part and the shadow. So I want to try to figure out how
much contrast is there and the blue sky is Illuminating the shadow.
So it's going to have a sort of blue cast to that to it.
I want to keep that in mind.
Maybe I’ll bring that down a little bit more, that shadow is going to continue to grow as I’m
painting. Just bring it down a tiny bit.
I see a bit of that wall shadow down here,
too, around here. It's probably also very similar to the shadow
up here on the roof.
Or just under the roof.
of the vines also relating now to those other things.
So I'm just looking for
a few shadow patterns in the vines. I'm just adjusting the color a little bit.
I think I can even go lighter.
I think I can go light and yellower.
I think eventually I can go a lot lighter than that,
but I'll leave it there for now.
Okay I’m gonna start adjusting the - I’m just always looking for the next thing that looks like it's
not relating and I think it's this wall right now.
It's got to be - I wanna really get this wall relating to the sky.
They're almost the same value right now,
but they're different colors. And I’ll start carving into the shape of the tree a little bit.
Here I'll get the front plane of this little chimney,
which is clearly lighter than the sky.
Just adjust this wall a bit. And I think I’m going to jump down to the the cast shadow.
I'm trying to get the right
value there. Almost the same as this slightly lighter,
slightly bluer. I want to design the shape a bit too.
And I'll get the grass and sunlight relating to the shadow.
And I'm going to start mixing up something for the ground
that's not grass. And I want that to be slightly darker than the wall, a little
bit more gray. Just a tiny bit.
Maybe a little bit lighter than that.
And in this area, I want a lot of variety within the mass.
So I'm going to use some of the wash that I put on
the first session I can use that, let that come through.
Just to get a little bit of variety.
And I can vary the color and value a lot in this area too. And I
might have to design and redesign some of these chickens a bit.
I might make some pencil sketches.
make the sky a bit darker.
The one thing I haven't touched here right now is the leaves that are
in sunlight on the house.
I think I'm going to lighten them up a bit.
And just put a lot of variety and color, especially across here.
This is sort of a a gradation from a blue green to a yellow green.
And I want to make sure that I have enough contrast between this foreground tree
and the vines so probably lighten those up a bit.
But right now so far,
it's been the thing that's bothering me the least and that's why I left it until
now and I might leave it for a while longer.
I want to put some of that cast shadow
here just to tie this down a little bit.
And I might introduce some of the greys into the roof.
And a few more reds into the roof just to really get that
contrasting with the sky enough. I’m gonna get this terrace going.
I think I'm missing some greys and blues over
all right now. Some really nice blues shadows on the ground next to these
terracotta pots, violet blue color. And I've got to design these chickens a little bit more.
I’m gonna probably go make a few pencil sketches,
but I want to just start suggesting them.
I look at the design.
I'm going to add some blues up in this area,
too. I want there to be a difference between the orange of this and how this is
slightly bluer. At least right on the edge where it meets the sky it is.
Okay I’m gonna start mixing up some of the vines.
I was going to go for some of these greys that are in the roof.
And it might look too grey for a while.
Then I'll come back and put some of the oranges in.
And this is maybe looking too light right now,
but I'll come back and put some darker
things in there. So some parts of the painting can start to work better and some
parts will be broken for a while.
Okay I’m gonna go back to the sky.
This is getting a little bit distracting, this area now.
I'm going to start adjusting that.
I'll paint sky back into this
a little bit.
And I just want to make sure I've got enough difference between the different greens.
So I want to mix up a very specific green for these lemon
trees here. And I'm just going to start with a new mixture and maybe - I just
want to maybe push the the difference between the vines and the lemon trees.
For example, just a difference in color.
And I'll mix up something here
that's a little bit more
yellowy orange and I'll probably start mixing in some of the greys
and violets of the other branches as well.
So I’ll just take a clean brush and at this point my palettee’s getting a little bit
unorganized. I’m just going to scrape
off some of the excess paint and I might put out a little bit of
fresh white too. Things are getting a little bit muddy.
So hopefully I'll be able to use some of this base color that I put down
for the lemon trees. But I think I will be able to. I'm just going to
add a few branches here in there, leaves. And I'm going to try to look at
the mass, but I want to get the idea that there are leaves there.
And I just want the whole mass to feel more yellow
and orange then then this stuff here.
And I could even push it a little bit one way or the other.
I might push this stuff a little bit more blue and push this stuff little bit
more orange to get a difference. Okay,
now I might push some of the vines a little bit more blue.
So there's just more of a contrast and color between the two.
And I might take out my grey
color and just put a few suggestions of branches.
Mix up my warm gray and just get a few branches going.
Just to break up this mass and give it a little bit more variety, more color
variety. And hopefully the yellows will start to vibrate off of these
cooler greys. I think I’m gonna make the sky here a little bit more yellow.
I made it a little bit more yellow over here
and I think it works better than that.
So I'm going to do that. I'm just continuing working around, looking everywhere, trying to get
the whole painting going. I might just introduced some of this yellow
up here. It just adds to the whole feeling of warmth and sunlight and sort of
hazy atmosphere, the type of day that it is.
And it starts to vibrate against the blues a bit too.
Okay I like that better, it feels sunnier.
I'm just going to scrub over this cloud a little bit because it's just a bit
distracting right now. And I have to make a decision about that later if I see
clouds. I'll see how it works without them for a while.
I'll get this idea that these cines are a little bit more blue.
I'll start putting a few touches of blue.
Start to break up that mass a little bit.
I guess it's the sky reflection off of the leaves
that’s making them look so blue.
Okay so I’m starting to get - starting to suggest some of the variety that's going on in the -
in this big mass and starting to get a few different greens going.
it's always a battle between separating the masses and unifying the effect.
And this is where interpretation really comes in.
So I almost want to I think I'm going to push this a little bit lighter
here. Just to really make that difference between ground plane, side plane.
I'm not sure how much variety I want to get in this area.
I think some areas will have a lot of variety some less in some places.
I could probably even leave it as it is.
So I want to make sure that I'm also I'm painting
not just to fill gaps or not just to say okay
I haven't touched this area for a while,
I need to do that. If it's not important, if it's not really calling my attention,
I can leave it. So I’ve got some of that first underdrawing still scrubbed in here.
It's not really bothering me right now so I can just leave it for now.
So I’m always trying to think of the thing that's going to but the
thing that's going to make the painting better, not the thing that has been painted
on the least. So I think right now -
I think right now I need to start working on this foreground tree a little
bit and the sky, how it relates to the background tree.
I also think I could probably start suggesting a few spots of color from the
flowers. And some of the accents that I might leave or cover up next time.
I think I should also pay attention to the design.
I think I'm going to get rid of this
chicken over here. It's really distracting
how it's so far on the edge over there.
I’ll just kind of paint that out for now.
I think I might move it over here.
I'm just looking for spots of color that will make the design work right now.
I can get chickens later to help me draw them.
Okay. I've got to make - I’ve got to separate this middle ground tree from the house.
And I think I'm going to try to make a distinct - right now the shadow color
of this tree and shadow color of the vines on the house are very similar.
I need to make them
a little bit different. I can also
put a few more holes into this tree here.
I think I need to lighten up some of this ground shadow too, this
cast shadow. I’m just kind of - I'm looking everywhere and trying to relate everything.
I'm trying to make it work,
I think. I think if I lighten this up a little bit,
it'll be a little bit more different that
shadow on the house. And if I make it a little bit more blue
or introduced a few blues and violets in there.
I could also introduce some dappled light within the shadow.
Okay that’s reading better now.
Now this is looking a bit too
suddenly. I’m gonna jump back up there.
Right now, I'm just not happy with this shadow.
I'm going to scrape it off a little bit.
And I might just redesign it a little bit next time.
Or maybe now. And I wanted to get back up here to this tree.
Paint the sky a little bit. The sky is very warm right now.
Okay, so I think at this point I'm going to leave it. The light’s changing.
I've got the painting keyed pretty well.
There's still a lot to do on it.
I think what I'm going to do now is I'm going to go sketch a
few chickens so that next time I can start placing chickens into the composition.
I've got good conditions today.
There's a few clouds in the sky,
which is perfect. That's what I wanted.
So I'll be able to hopefully select a few of the clouds and place some to
help the composition. I've also done a few sketches of chickens yesterday afternoon,
and I'll be able to hopefully define these a little bit more and with fresh eyes
I'll be able to design the chickens a little bit better.
Right now there's a symmetry problem.
I’ve got a big group of chickens and then I've got two outliers here that are
kind of the same distance from the group.
And so I'm going to take a look and select
one of these two or just look at the general composition here
and then take my sketches and sort of apply that to the shapes of the
chickens. So those are the big things that I want to start with is just looking
at the composition so the chickens and the clouds, these moving elements.
Then I will jump back into the other parts of the painting and I think I
will end up lightning this up, the shadow, adding more reflected light here
to make more of a difference between the shadow on the house and the shadow of
the tree. I also probably will redesigned this cast shadow a little bit.
So I'm just going to stand back now and start looking at the composition of the
foreground. And as I see them,
as I see the clouds,
I will probably jump up and put a few clouds in the sky.
So I think I'll just move -
I'll move this chicken over a tiny bit.
And I think that will help the composition.
So I've got a few shapes
to go for. And I can change these and redefine them later a little bit.
It's mostly just for the composition that I'm doing this.
I've also got an odd number of chickens,
which is good. I’m just gonna look again.
And so I’m just kind of making this up.
I've seen chickens here a lot and I saw somewhat yesterday afternoon,
but I'm just sort of using these elements to help the composition.
I want them all to be slightly different.
Maybe I’ll turn this one away.
I’ve got them all facing slightly different angles. Okay,
I think that might be enough information to go on right now.
And I would love to get the chickens back here just for a minute just to
get a flash of color or two.
And that might happen later on.
But for now, I've got the composition going, I can start adjusting it if I
need to. I don't know if I want another one here or not.
I can't tell. I'll put one in there and just see what happens.
Okay. I'm going to look at the clouds a bit.
And I hope it doesn't cloud up too much.
I think it is working
okay without the clouds, but that was my original idea or the initial idea was
to have clouds in the painting.
I want to see what they look like.
I can paint them out later if I don't like them.
And I'm just going to kind of use the shapes that I'm seeing and
the clouds are going to be coming and going and I'll just use them
to try to help the composition a bit.
And try to help the feeling of the painting.
And they're kind of a warm grey and they’re very soft.
There's not a lot of form to them. They’re -
some of them have slight under planes.
The one that I'm paying right now
it’s so thin it doesn't really have any form right now.
That looks a little bit odd.
I might just wait for a better cloud to come along. I mostly what I'm trying
to do now is just look at the composition.
Alright so that's not quite working right now,
but I'll leave it until the sky changes a little bit.
I'm going to move on now.
Start suggesting a few in this window. A few bits of
vine I didn't get yesterday.
It would be nice to get.
I think the conditions are a little bit different today,
because there are more clouds in the sky
the shadows are not as dark. There’s less contrast between the shadow
and the light and it's making this the whole sky appear a little bit lighter
in relation to everything else compared to yesterday.
I don't want to change that.
I liked how it was yesterday.
I liked how the sky looked very dark against the roof and how the
sky looked very dark against the ground.
So I want to keep that idea.
Even though it's a little bit less contrast today.
I probably will lighten this shadow up a little bit.
I want to get more reflected light coming off the vines into this shadow.
I think I'll keep this one fairly dark and I'll probably reinstate that shadow.
Maybe I’ll do that now.
And now everything's in a cloud shadow.
At this point we're in a cloud shadow right now.
I might just take a small break until the sun comes back.
And I think there's enough interest in the foreground that I can have a sort of
empty area up at the top of the painting.
So I'm just going to paint this out.
So the painting at this stage is still open.
I'm still - I can continue to work on it for a long time.
I might also, just try to wrap this up and ask myself,
what are the main things I can do to
pull it together as a sketch.
Ciao Mario. So I think that feels better without the clouds.
And I liked it a little bit better yesterday when the sky was a little bit
darker in relationship to the ground.
So I'm going to try to keep that idea and even push that a little bit.
I might just leave this cloud for now.
I might push the contrast a bit on a sky up here.
I'll get it a little bit darker.
Okay, that's more of the affect that I want.
I want just to work out some of these chicken shapes a bit. I’m just trying to find some shadows
on this mass of leaves and trying to make them all roughly in the same family,
but varying the color and value a little bit.
I've got sort of darker shadow down here and a little bit lighter shadow out
here. And I'll come back with the lights on top of that.
And I think I need a few more dapples in the cast shadow.
Little bit more dappled light. I think I could probably make this grass slightly more green.
And another big cloud shadow went over.
So that's probably a good time to start working on the chicken since I'm sort of
making that part up anyway.
And I’m gonna I lighten up the ground a little bit more and start cutting back into
some of these chicken shapes and sort of defining them a little bit more in places.
Although I kind of want it to be sketchy and just mostly just a compositional element.
I need some - I think I need some variety in the color of the chickens.
I've got decent variety of shape,
but they all look like same color
right now. Right now I'm introducing a lot of yellows,
yellow orange. I think I'll put a little bit more violety grey
in this mass eventually, but right now I'm just kind of lightening it up and warming
it up even more. Just get more variety in this mass down here, foreground mass I’ll
just - started out with a mass that was made of mostly green.
Now I'm going to introduce some oranges and reds to that end.
Just to see if it'll start
vibrating a little bit more, add more
color contrast and pull it forward a little bit more as well.
And this shadow mass now
is looking I think too solid and I need to add some dappled light there.
I just need to vary the shape of it as well.
Work on the cast shadows down here.
And add a little bit more blue to this area.
Blue from the sky and illuminating these shadows. And they should be similar in
feeling to these shadows from the terracotta pots. I'll try to get some
warm reflected light back into the chickens as well. At this point to go further with the
chickens I think I need a few chickens here.
So I might bring them over here
later. I wanna get more of this reflected light in the shadow. Maybe that's too much.
Also wanna get the light of this tree going. Well it’s really starting to cloud up.
I'm going to take another break and see if the sun comes back.
I don't think I'll be able to finish the painting today.
But I am going to take another
look at the chickens, and I think I'm going to just rearrange them a little bit
and I want to keep that open.
I'm not satisfied with the composition there.
So I just want to keep it a little bit more open and look at it
fresh next time and I might have to go back and do some more chicken studies.
Yeah, I thought it would be good to have some overlapping.
Right now there are almost no overlapping shapes here.
So I think it's better have a few overlapping things.
So I'm just going to kind of mess this up again and give myself a chance to -
another chance next time and I'm just going to look kind of abstractly at this group.
So I'm going to go back to that stage where it doesn't even look like anything.
I just want it work
a little bit more abstractly. So right
now these two, this and this, are the same shape.
That's not working very well.
I’m just gonna paint that out a little bit.
This one looks too big right now.
I might just paint that out as well
and I think I might have to do a little bit more planning here.
I might put one a little bit over here.
Even these two are just looking too similar so I need to do something about that.
I'm not sure what. Just give myself more options next time.
So I'm going to leave it here for today.
The light is gone and it's clouding up.
The composition of chickens I still need to work out a little bit and I'm going
to just put the painting inside for a while and come back to it in a
few days with fresh eyes and take another look at the composition.
And I'll come back on a day
that's a little bit sunnier and try to tie this - tie everything together a little bit
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24m 37s2. Sketching in the House
12m 24s3. Sketching in the Rest of the Scene
18m 16s4. Painting the Foreground & Vines
21m 33s5. Painting the Walls & Trees
29m 34s6. Adding Contrast & Clarification
15m 57s7. Unifying the Canvas
23m 27s8. Adding Structure
9m 38s9. Painting Variety into the Greens
17m 28s10. Painting the Sky & Ground Plane
20m 11s11. Painting Clouds & Chickens
28m 5s12. Redesigning the Sky
7m 50s13. Final Touches & Conclusion
15m 0s14. Time Lapse Progression