Painting trees

I look for the larger form of a tree before getting absorbed in leaves and branches. In the rounded-tree demonstration, I begin with a circle, think of it as a sphere, and use three or four values to explain its volume. The openings and smaller shapes come after that beginning.

A group of trees raises another design question. In the grouping demonstration, I compare separate, similarly spaced shapes with a larger connected mass. Selected background openings then divide that mass where I want the viewer to look.

Edges and brush handling give me another way to develop the form. The written tree-edge note discusses varying the outside boundary to avoid a cutout feeling. The short brush-grip video shows the broader movement I use during a block-in. Taken together, these examples move from the overall mass toward more selective information, while keeping the larger shape readable.

Start here

1. How to Simplify a Tree

   See how a rounded tree can be understood as a simple form with a few values.

2. How To Unify Shapes

   Compare separate trees with a connected mass and selected openings.

3. Painting Tree Edges

   Read about varied exterior edges and the brush movement I use to avoid a cutout effect.

4. How to Start Your Painting

   Watch the broad brush handling I use when beginning a mountain block-in.