Key points in this lesson:

• Define the light and shadow shapes and add them to the masses drawing.

• Simplify light and shadow mass shapes.

• Take time to see and understand how the light and shadow shapes impact the original mass shapes.

• Take liberty to adjust light and shadow shapes to make the design more interesting.

• It's okay to add or omit certain light and shadow details if it improves the overall design.

• If the shapes are not working at this stage it will not work in the final painting.

Key points in this lesson:

• As you add color be sure to simplify the masses by using one hue variation. No need to add unnecessary details and every subtle shift in color.

• Identify and add a local color to each mass.

• Objects closer to you generally are more saturated and have more contrast.

• Therefore objects that are farther away tend to be cooler in hue, or have less yellow, and have less contrast.

• Avoid details and gradations at this stage. Keep it simple.

• Vertical planes tend to have the darkest darks, especially those that are closer to you.

• Cast shadows tend to be lighter in value than that of the vertical planes.

• Light on vertical planes are usually darker in value than light hitting the flat/ground planes.

• Be careful when you are adding clouds and other details. Always ask yourself how do they impact the shapes of the masses. It's common to add unnecessary details as the painting progresses that alter the original mass shapes.

Key points in this lesson:

• Gradations are when you add subtle changes, or shifts to color masses.

• Be careful when you add hues that are too light or dark. Always step back to see if the gradation(s) are breaking up the masses.

• Colors tend to become more gray as they move into the distance.

• It's perfectly normal to change the original hues to create more impact and interest to your work.

• Adding variations is useful so long as you don't overdo it! Again, always step back to see how the additions impact your masses! If they start to break them up then ask yourself does it still work? Or, do you need to tone it down?

Key points in this lesson:

1. The most common problem with gradations and variations is to take them too far! Usually the artist will add too many variations causing the mass to break up.

2. As always keep it simple!

Key points in this lesson:

• Always take time to learn from the Masters!

• In this demo I will analyze Isaac Levitan to see how he grouped his objects into masses.

• I will also do a grayscale study to help me determine how each shape was designed.

• As always keep it simple at this stage.

Key points in this lesson:

• Now I will take the study to another level by adding dominant local hue choices and overlaying them over the grayscale study.

• Avoid too many details. Just get the big idea down and remember this isn't an exact replica of the original painting.

It's your turn to give it a try.

• Each image is 4 minutes long.

• Add a contour for each mass.

• Limit masses to 7!

• Are your shapes interesting to look at?

• Don't add light & shadow, or details.

• Use your medium of choice.

• Take more time if you need it.

Reference images are attached if you need them.

Now you can sit back and relax to see how Robert completed the masses practice reel.

Now you will see how I added light & shadow to my studies using tracing paper.

Key points in this lesson:

• Start with a simple 10 value scale.

• Try to avoid using pure black and white.

• It's ideal to create a value scale study that's 7 values, or less.

• When you start to create value studies try to switch off color.

• If you are working with an image you can use photo editing software to desaturate.

I added the drawing off-camera so now we can jump into the main part of the lesson.

Key points in this lesson:

• If you have more than 7 values try to go back and see if you can group certain objects into one value mass.

• Spend some time planning the value masses.

• It's normal to group objects together that have similar values.

• The sky is usually the lightest light.

• Vertical planes in the middle, or foreground have the darkest values in the shadows.

• Light hitting the vertical planes tend to be darker than ground plane lights.

• Ground plane tends to be the second lightest value.

Key points in this lesson:

• It's common to place too many values in a small space!

• Remember this over-painting is usually a sign of an attitude. And most artists that do this will usually do it in every area of the painting.

Key points in this lesson:

• Similar value variations tend to be less complicated and don't disrupt masses.

• While too many variations will destroy masses.

• Monet is a great example of how an artist uses a lot of variation without destroying the value masses.

• Low key value scales are use darker set of hues.

• Darker hues are considered low key.

• When doing a low key study be sure to omit white and lighter values.

Key points in this lesson:

High key paintings avoid black and other really dark values.

It's your turn to give it a try.

• Each image is 4 minutes long.

• Add a value to each mass

• Limit values to 7!

• Implement the ideas we have covered about darkest dark, lightest light and so on.

• Don't feel you need to light & shadow, or details. You probably won't have time. But if you do go back and add some.

• Use your medium of choice. I used a Sharpie for my drawing and acrylics to add values.

• Take more time if you need it.

Key points in this lesson:

• There are three main planes, ground (horizontal), vertical and angled.

• Light and shadow impact each plane differently.

• You have to interpret the scene into two parts, in light, or not in light.

• Keep the light and shadow division(s) simple.

• Shadows in vertical planes tend to be the darkest values/hues.

• Cast shadows on a ground plane tend to be lighter in value than he vertical plane shadow.

• Light bounces around in the sky and shadows receive more light from that effect.

• Horizontal/ground planes tend to be the lightest plane in value because they receive direct light from the sun.

• The light plane hitting a vertical element will often times be darker than ground planes in light.

• Some exceptions to these rules may be when the sun is low in the sky (early morning, and late evening)

• Angular planes, like hills and mountains, will be darker in value than ground planes but lighter than vertical planes because they receive more light.

• Avoid too much modeling within vertical planes.

• Highlights are basically reflections from the sun. These can be useful but avoid over-doing it.

• Under-planes are usually the darkest of the darks (underneath the canopy of a tree)

In this lesson I will breakdown how some of the Masters used the three planes and light & shadow ideas in their artwork.

Artist: Edgar Payne

In this lesson I will breakdown how some of the Masters used the three planes and light & shadow ideas in their artwork.

Your Assignment:

• I have furnished three images for you to use in this assignment.

• You will create two studies for each one.

• The first study will be identifying the three planes.

• The second study will be light & shadow.

• Below is an example of what your studies may look like.

• You only need graphite, or any drawing medium, and paper for this exercise. But feel free to use any medium you find interesting.

See Attached Example Image!

Here's how Robert approached the assignment.

Key points in this lesson:

• Shadows on vertical and ground planes that are closest to you will often be darker in value than objects farther away.

• Planes that are receiving light are very little value change as they move into the distance. It's usually a change in hue but little change in value.

• The same can be said for cast shadows as they move into the distance. So darker when closer but lighter in the distance.

• If you could see far enough all light and shadow planes could easily become the same value.

• Anything closer to you will gave more variety. So touches of lighter and darker notes while distant objects/planes will have less detail(s).

• Objects closer to you are harder to outline, while things that are farther away have crisp edges.

Key points in this lesson:

1. One color theory is hues become more blue as they move back in space.

2. Theory two is hues become less yellow as they move back in space.

Key points in this lesson:

• As you learned in the previous lesson darks will become lighter in value and perhaps more blue as they move away in space.

• It's okay to use one or the other color theory, or a combination of the two.

• Colors in the light will tend to get slightly lighter in value but often less saturated, or less yellow.

• You can add more orange, yellow ochre or red(s) to decrease the yellow in hues in light.

• Remember the ideas about adding more details and variety as objects get closer to you but be careful to not overstate them.

• Shapes are less detailed and easier to define when that are farther away in space.

In this lesson I will breakdown how some of the Masters used atmospheric perspective ideas in their artwork.

I will create a small study using the atmospheric perspective ideas we have covered so far.

Part two of creating a small study using the atmospheric perspective ideas we have covered so far.

This will wrap up the demonstration for atmospheric perspective.

Your Assignment:

• Create two color scales as demonstrated in lesson one of this section.

• One color scale will represent blue being added to the hue.

• The second scale will represent yellow being removed from the hue.

• Use your medium of choice.

• Add a light scale at the top for the sky.

Example Image Attached!

Trees are possibly the most difficult objects to paint in a landscape. In this section we will have a look at a few ideas on how to approach painting them.

Key points in this lesson:

• The key is to simplify shapes and reduce details.

• Remember to make shapes interesting and always capture the character of the tree.

• Make each sky hole unique. Try to make holes different sizes and shapes.

In this video I will block-in a base color for each mass using some of the ideas shared in previous tutorials.

Key points in this lesson:

• Refraction happens when a dark mass is layered in front of a lighter valued mass. The light value that is visible within the dark mass will become darker in value. This is because the darker massed object will diffuse the intensity of the value/color.

• This is useful when painting sky holes in trees.

• The larger the hole the less amount of refraction occurs.

• The smaller the sky hole the more impacted the value is effected, basically making the hue darker.

• The some effect happens in other areas of the landscape such as cast shadows.

• Once you add the darker sky holes try going back over the darker and lighter values of the tree to blend the hues so it doesn't appear too stiff.

In this video I will share some thoughts on how Master's possibly use some of these ideas in their work.

Your Assignment:

• Create two (or more if you are motivated) sketches using the furnished images below. Or, feel free to use your own photos.

• Apply the ideas discussed in this section regarding trees and sky holes.

• Work with your medium of choice.

• Avoid details and unnecessary objects. I focused on the trees and lightly indicated the details. See my example image below.

Example ImageAttached Along With Four Images To Use (feel free to use your own images)

I will share how I approached the trees and sky for this image.

Key points in this lesson:

• The sky can be divided into four sections.

• Each section has its own value.

• Each section is larger starting from the bottom and working up.

• The second lightest value section is the section that is on the bottom.

• The bottom section is rarely visible because it's often covered with trees, hills, etc.

• The lightest value is the second from the bottom.

• The remaining two sections get slightly darker in value with the top section being the darkest.

• When building a general sky gradation color model the bottom section is violet, then yellow (I used yellow ochre), then green (I used viridian green) and finally blue ( I used cerulean blue) at the top.

• Keep in mind these hues are all in the context of a blue sky.

• Obviously we don't see bands of colors across the sky so these would be blended bands of colors.

Key points in this lesson:

• Linear perspective is the illusion of depth on a flat surface.

• This is NOT a linear perspective course but I will teach you some basics to get you started.

• Two point perspective was used to create the man-made barn-like structure. Both points are placed on the horizon line on the left and right side of the barn.

• Roads and paths will often have linear perspective as well.

• Although I didn't; t add them in the demo so could telephone poles.

• To layout the cumulus clouds I used a one point perspective in the sky to draw my burst-like grid.

• Cumulus clouds are much lower in the sky and are usually more boxy in shape. These clouds are rain and thunder type clouds that all have a bottom that's at the same height but the tops are often at different heights.

• Cirrus clouds are much higher in the sky and are like thin bands.

• Cumulus clouds that are closer to you are usually larger and have more of the bottom plane visible.

• As cumulus clouds move away from you in space they become smaller and the bottom plane is smaller, less visible.

Key points in this lesson:

• Remember the bottom band of color ( the violet) is usually covered, or hidden by the landscape.

• This isn't a formula that will work for every sky, it's a general model that you can use to compare skies to.

• When adding hues to clouds planes you can always use the atmospheric perspective ideas we learned earlier.

• So more yellow as the object is closer to you and less yellow as it moves away. Remember you can always add more blue and, or violet as objects move into the distance as well.

In this lesson I will block-in the ground and mountain planes using the atmospheric perspective ideas we learned earlier.

Key points in this lesson:

• Clouds will often create a cast shadow on to the landscape. Use them in your design!

• Reflected light happens when an object receives light that is bouncing off the ground and back into it.

• The reflected light will often have a hue that is similar to the surface that's it's bouncing off of.

• This idea was used for the shadow side of the barn when I added a touch of greenish-yellow near the bottom.

• Remember the atmospheric perspective ideas as you add hues to the different objects, shadows and planes.

In this lesson I will go back over some of the hues and make some corrections. It's important at this stage to evaluate the work and see if there's some room for improvement.

Key points in this lesson:

• Remember that the under-plane of the cumulus clouds are what matter most.

• Also take note of value comparisons. Ask questions like id the under-plane of the cloud a darker value then the sky.

• Always consider the direction of the light source and how it impacts the sides of the cumulus clouds.

• Apply the atmospheric perspective ideas to clouds.

• Cirrus clouds are thin and usually light in value.

In this lesson I will recap the demonstration and give you some tips for turning boxes into clouds.

In this lesson we will take a look at how some of the Master's used these ideas in their paintings.

Your Assignment:

• Create a study using the provided landscape contour drawing.

• Apply linear perspective for the cumulus clouds.

• Add any and all ideas we have discussed about clouds, skies and atmospheric perspective.

In this video you will see how Robert approached the sky and cloud assignment.

You did it! If you made it this far you have done an amazing job.

But wait...there's more...

In late March, early April of 2020 I will release Landscape Painting Fundamentals Part 2 (this will be a separate Udemy course)

Here are some of the topics I will cover in that series.

• The Effects Of Light - Basically how to paint various scenes with different lighting conditions.

• Color - Break down hues & saturation, color vibrations and more.

• Composition Basics - Cropping, leading viewer into the painting, Types of compositions and more.

• A series of complete demonstrations that include a variety of scenery from the Plains, Coastal, Ponds, and more.