well welcome to the program i'm james tell ski today we're going to talk about trees in going to talk about the shapes of trees and the anatomy of trees and the color of trees and this is a subject i know a lot of artists have trouble with and i've brought some paintings in here these are oil studies and then i could point out some things that i look for when i paint a tree so we that's what poultry is certain it's characteristic of an apple tree and you see as we go into the distance we can really grab on to the basic shapes of trees and just look for shadows and  and these are largely spherical shapes even way back here but the problem is when you get into the foreground tree that's not the question is how do you paint this tree so we're and you see i have a third ground tree here and once again we're going to look for these big rhythms in the tree trunk and then build large forms and study the light and shadow so there are different shapes and we'll discuss that and how the capture of these shapes cities are more like clone shapes so we want to tell about the light and shadow to ok now let's go to this painting we could start sketching with some charcoal so it doesn't grab onto a big idea here let's find a rhythm and call this t studies of trees from you know before the spring comes and right after the fall when there are no leaves on the trees so you could use these and up in your i'll take some romber here and just fix that charcoal line that i put in there order as notebooks have some good ideas on trees specially the anatomy of trees and you know his notebooks are still available everything so maybe we saw it a little differently than he did but it's all in there i have a pink canvas just staying in the canvas with some cadmium red medium as i like the idea of the pink coming through which gives a more atmosphere you see  with the big brush always go for the biggest shade in newchurch no matter what we we pa and don't see any details till later till we build up to the detail kind of focus in on that as we get to the finish but the larger the shape in this is the mass in the big massive shape the larger the shape english name constable he was really good and the american hudson river school artist we're very good this  as long as we study basic shapes we know these things ok so i could go to my light build my light or build my shadows let's go to the shadow and there are this one again and this is the third up close in the foreground i could use romber with a little bit of red in it see for these shadows the tree has more of a violet in the center let's take this violet with a little bit of amber ok and i said the light is coming from the left so we have to go underneath this form and that's what this will  shadows like that to keep it loose you know and it's like to keep this painting loose when i'm feeling in the drawing for a little shadow here a little bit of violet down there on the grass and i think what i'll do is just block in some grass take some yellow current in the middle green here and just throw this down here for now its reserves to help investors over fifteen billion dollars that's how much as five p c has made it possible for investors to recover what is a sipc it's a securities investor protection corporation and investors first line of defense in the unlikely event that a brokerage firm fails it doesn't happen very often but when it does s i p c is there for real people like me and me and  i welcome back we'll get back to this tree and build some light on it since i've got to play and so far i've got a middle plane with this basic color and this could be thought of as the local color of the object here you know like if we're painting an orange this would be orange sure if it's an apple it might be red so that's my local color that's one plane and then i have the shadow plane so l your logical approach you know oak trees maple trees and all that i'm sure they have you know they forgot we were doing close up so these trees would have to get into the shape of the leaves and also the let's put a little bit of red a bit of red in the green take cadmium red light and put it in the middle with the middle green and you know put little little touches of that in there hear that's going there and keep it crisp so you know this comes through here and then down here the darkest dark and the tree trunk will be in the center all the while i haven't destroyed my big shape you see so hold on to that big sha ok now let's go a little bit darker in the center of the tree i could take care loser and crimp soon and they low green make a very deep dark moon that will go right in and now will take a little bit of paint or some cadmium red light with some white and i could throw this on top just for a little bit of indication of sunlight in my lightest light areas maybe this branch will pick up some light might be there the little light hitting the tree trunk and then throw in some sky i could make some sky holes in here the branches the right through here so look for those those holes in the tree because they're important also to the character of the tree influence of the blue sky so