第一步:选择一个场景
步骤2 -布置设计
我的画通常非常不祥地开始,我害怕!所有我想做的在这一点上是计划我的布局和获取元素的场景下非常抽象的形状。
步骤3:躺在天空
我喜欢躺在尽可能早的天空在我的过程。天空是光的来源,通常它似乎最轻的色调值在大多数山水画。通过铺设在最轻的价值首先我可以更容易判断价值关系(灯光之间的关系及深色)剩下的绘画。
步骤4
与我的天空在的地方,我现在可以判断黑山脉应该是。我开始块在遥远的山和树,仍然非常小的细节。 
步骤5
在我已经封锁了在遥远的树我退一步,开始重新评估我的作文。什么是我的焦点吗?眼睛往往喜欢放大一些当看着成分,到目前为止我已经更多地聚焦于葡萄园的抽象形状移动眼睛周围画。这是好的,但是还有更多的东西吗?我会让你知道我的决定在下一期中! 我再看看我的主题,注意到一个小的树在现场。老实说,我不确定,我注意到它之前。我决定玩这个元素和使用这个作为我的焦点或兴趣中心:
光线是真的改变了很多现在。太阳在我的场景断断续续,但我后面有一些相当威胁云。我决定我最好不要偷懒在任何更多的,如果我想把这幅画完成了!
步骤6
帮助我的进程,我尝试和预混一大堆一大堆的各种颜色我看到其他的景观。 
步骤7
我添加一个小更多的细节到焦点的树比我做背景的树木,这将有助于推动小树向前投影面。
步骤8
我真的必须看起来很难看到绿色色调的细微变化,但是一旦我开始画在地上和葡萄园,我的照片开始成形。 
步骤9
云取消他们的威胁,所以我才能够放松一下,把收尾工作在我的画就在现场。 
“葡萄园模式”布面油画,12×16
我在画室里画过程非常类似于我的过程在位置。但是也有例外,我没有大小限制,我也不需要处理了变幻莫测的光线、臭虫、晒伤!另一方面,画上是一个令人兴奋的挑战和位置可以帮助我发展我的观察和决策技能。它也给一个更好的理解光的玩的景观。
根据不同的照明条件下,色温变化显著。在一个会话变化的光就像我,我需要做一个决定在早期关于照明条件我想去,然后提交到内存以防太阳消失完全!
绘画在位置,(或“en练习空气”,作为印象派画家常说)是一种极好的补充到我的工作室工作。我经常用我的练习空气草图和研究以及很多很多照片我承担网站,开发更大的绘画在录音室。
原文如下：
Step One: Choose a Scene
I often head out to the Virginia mountains to do some plein air painting, and on a morning last week I visited Veritas Vineyards in Afton Virginia. This is a beautiful winery and there are many possibilities for painting subject matter. However, my umbrella broke and I haven’t yet purchased a new one, which can make painting on location in an open field a bit difficult. If the sun is shining directly on your canvas, all you see is a bunch of glare and your paintings end up turning out way to dark and muddy as a result.Having said that, I can’t stress enough how important it is to take the time to choose a scene that excites and interests you. You have a better chance of producing a much better painting as a result. Luckily I came upon a nice shady spot in a private area off of the main road past the winery’s tasting room and became excited about this scene:
Okay, so it loses something in my photograph, perhaps! But what I liked about this scene was the abstract shapes and patterns formed by the sweeping lines of the vines and ground. The light was constantly going back and forth behind cloud masses, making painting with consistent lighting very difficult. But that is the fun challenge of painting on location!
Step 2 – Lay out the Design
My paintings usually begin very inauspiciously, I’m afraid! All I want to do at this point is plan my layout and get the elements of the scene down in very abstract shapes.
As you can plainly see, I have to work quickly with the changing light, so I don’t do a lot of detailed drawing. In fact, I’d say I do far fewer details in the plein air drawing stage than I do in the studio, and if any one were to come upon my painting at this stage they would hardly be impressed! But the marks mean something to me, and I guess that’s what matters. In the coming days I will continue to unfold this plein air painting demo, so stay tuned!
Step 3 : Lay in the Sky
I like to lay in the sky as early as possible in my process. The sky is the source of light and generally it appears to have the lightest tonal value in most landscape paintings. By laying in the lightest value first I can more easily judge value relationships (the relationship between lights and darks) for the rest of the painting.
Step 4
With my sky in place, I can now judge how dark the mountain range should be. I begin to block in the distant mountains and trees, still with very little detail.
Step 5
After I’ve blocked in the distant trees I step back and begin to reassess my composition. What is my focal point? The eye tends to like to zoom in on something when looking at a composition, and up to this point I’ve been focusing more on the abstract shapes of the vineyard to move the eye around the painting. This is good, but is there something more? I’ll let you know what I decide in the next installment!
I look again at my subject and notice a little tree in the field. To be honest, I am not sure that I had noticed it before. I decide to play up this element and use this as my focal point or center of interest:
The light is really changing a lot now. Sun shines intermittently on my scene, but behind me there are some pretty threatening clouds. I decide I had better not dawdle around any more if I want to get this painting finished!
Step 6
To help my process along, I try and pre-mix large piles of the various colors I see in the rest of the landscape.
Step 7
I add a little more detail to the focal point tree than I do the background trees, which will help to push the little tree forward in the picture plane.
Step 8
I really have to look hard to see the subtle variations in the green shades, but once I start painting in the ground and the vineyard, my picture begins to take shape.
Step 9
The clouds called off their threats so I was able to relax a little and put the finishing touches on my painting right there on the spot.
“Vineyard Patterns”Oil on Canvas, 12×16
My process for painting in the studio is very similar to my process on location. The exceptions are that I don’t have size limitations, nor do I have to deal with the changing light, bugs, and sunburn! On the other hand, painting on location is an exhilarating challenge and helps me to develop my observation and decision making skills. It also gives a far better understanding of the play of light on the landscape.
Depending on the lighting conditions, color temperature changes dramatically. In a session of changing light like the one I had, I needed to make a decision early on about which lighting condition I wanted to go with, and then commit that to memory in case the sun went away completely!
Painting on location, (or “en plein air”, as the Impressionists used to say) is a wonderful complement to my studio work. I often use my plein air sketches and studies along with the many, many photos I take on site, to develop larger paintings in the studio.
