Abstracting Nature Demonstration – Development of an Abstract Landscape
A step-by-step demonstration that did not appear in the Abstracting Nature chapter of my book.
Mitchell Albala is an award-winning landscape painter, workshop instructor, and author. His semi-abstract and atmospheric landscapes have been exhibited nationally and are represented in corporate and private collections. He is the author of three popular books on landscape painting: "Landscape Painting: Essential Concepts and Techniques for Plein Air and Studio Practice (Watson-Guptill, 2009), with 70,000 copies in print; "The Landscape Painter's Workbook: Essential Studies in Shape, Composition, and Color" (Rockport Publishers, 2022), which has been the #1 selling book on landscape in the nation; and "New Lessons in Landscape Painting: Key Concepts and Exercises in Color and Composition" (Rockport Publishers, 2026). Mitchell leads painting workshops in the U.S. and has offered plein air adventures in Italy. He is also a master mentor with the online mentoring community Mastrius. He has lectured on Impressionism and landscape painting at the Seattle Art Museum and has written for International Artist and Artists & Illustrators magazines. Mitchell also hosts a popular painting blog, which hold the #11 spot on Feedspot.com's "90 Best Painting Blogs to Follow in 2026." He is a Signature member in both the Pastel Society of America and the Northwest Pastel Society.
A step-by-step demonstration that did not appear in the Abstracting Nature chapter of my book.
Strong value contrasts are an effective way to suggest light — but not the only way. Saturated, mid-valued colors can also do the trick.
The unique attributes of fog make key lesson more obvious — massing, value zones, edges and neutrals.
View the work of nine plein air painters who demonstrate smart solutions to challenging problems.
How two plein air painters approach the same subject reveals much about the uniqueness of their vision.
Landscape values are easier to understand when viewed as falling into four major divisions or zones.
How should the plein air painter orient themselves to get the best light on the subject and canvas?
Learning how to simplify requires a practiced shift in perception — an ability to see the forest and the trees.
Explore the parallel relationship between the light source and its effect on the subject.
Reflections on the perils and pitfalls of being too attached to photographic reference.