When I came across the Victorian engraving below, I knew it was the scene I wanted to paint. I researched the Internet for color photographs of olive trees for a good color reference. The clouds I used are from a photograph that Jennifer had taken one afternoon in our neighborhood. The painting is relatively small at 8 x 10 inches.

I always begin a landscape painting with the sky. I knew a large group of trees would be on the right side of this scene, so as you can notice, I did not paint any clouds in that area; only the blue sky is visible on the right. After the sky and clouds looked complete, I blocked in the foreground the large body of water and the remote peninsula.

Once satisfied with the background elements of the painting, I started adding the trees and shadows.

Now I’m focused on painting the trees. I was attempting to follow the engraving as closely as possible. The Victorian engraving was perfect for the Hudson River School style of painting that I’m trying to develop.

The distant tree on the right was painted darker so there would be a noticeable contrast between it and the closest tree. I think the effect was working nicely at this point.

Using my computer, I created this digital update. Seeing minor changes on the computer is faster and less risky than updating the actual painting. The distant shoreline is more defined, the horizontal plane of the coastline now carries out into the ocean, and the forward right tree trunk now has more highlights so that it pops. More sunlight also passes through the tree leaves and branches, making a beautiful array of shadows on the ground.

Day 6 was about implementing the digital edits from the previous day.